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<p>Wu Yinghong: /* 吴映红 Wú Yìnghóng 日语语言文学 女 202120081530 */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。<br /> <br /> The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&quot;I heard that a saint has seven hole in his heart.&quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)<br /> <br /> The heart is one more hole than Bigan. Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &quot;I heard that the heart of Bigan.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​<br /> <br /> 病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.​<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Mascara Jade Forest as extremely clever. ​<br /> Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​<br /> Therefore, Mascara Jade Forest is described as weak and beautiful by &quot;sick as Xizi wins three points&quot;. Next, Precious Jade Merchant wrote &quot;Pingping&quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​<br /> <br /> “花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：<br /> <br /> Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &quot;Jiuda&quot;. Later, the big families followed the suit. ​<br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Village Residence Book Xi&quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini<br /> <br /> Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.<br /> <br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Book of Happiness Living in Village&quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> “红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”<br /> <br /> Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons: make his parents feel warm in winter and cool in summer, serve them to go to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。<br /> <br /> This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &quot;introspection&quot; is an abbreviation of &quot;morning introspection&quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 指子女早晨向父母请安问候的礼节。​<br /> <br /> 第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案<br /> <br /> It refers to the politeness children greet their parents in the morning.<br /> <br /> The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。<br /> <br /> <br /> <br /> <br /> Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.<br /> This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。<br /> <br /> Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)<br /> <br /> Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；<br /> <br /> When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)<br /> <br /> When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。<br /> However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)<br /> <br /> She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。<br /> <br /> Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。<br /> <br /> But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)<br /> <br /> But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”<br /> <br /> I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&quot; &quot;This is a scandal!&quot; fumed Rainvillage Merchant. &quot;How can men commit a murder and go without punishment?&quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang<br /> <br /> He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”<br /> He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)<br /> <br /> He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。<br /> <br /> Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)<br /> <br /> Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。<br /> <br /> It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)<br /> <br /> The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。<br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &quot;Friendships,&quot; Rainvillage Merchant remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)<br /> <br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &quot;Friendships,&quot; Yue-ts'un remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the passport just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &quot; Yu-tsun was confused and thus continued, &quot;guard officer?&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the warrant just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &quot; Yu-tsun was confused and thus continued, &quot;What's the protection charm?&quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！<br /> <br /> The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)<br /> <br /> The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”<br /> <br /> “So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)<br /> So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。<br /> On the one hand, while taking out a copy of the &quot;protection charm&quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)<br /> At the same time, he took out a copy of &quot;protecting official Fu&quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.<br /> --[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。<br /> Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。<br /> Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &quot;Wang master came to visit.&quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)<br /> <br /> Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &quot;Wang master come to visit.&quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &quot;the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？<br /> <br /> The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)<br /> <br /> The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：<br /> <br /> &quot;You probably know where the murderer is hiding? &quot; The doorman smiled and said, &quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)<br /> <br /> Maybe you know the direction in which the murderer is hiding.&quot;The doorman said with a smile: &quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail: --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。<br /> <br /> The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei<br /> <br /> The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。<br /> <br /> So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)<br /> <br /> So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；<br /> <br /> He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)<br /> <br /> Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family. It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！<br /> <br /> Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!” --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)<br /> <br /> human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&quot; Yu Cun replyed:&quot;How should I know?&quot; Menzi laughed coldly and said, &quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。<br /> <br /> She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&quot; Yu Cun shocked: &quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&quot; Menzi said:&quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)<br /> <br /> She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple.&quot; Yu Cun shocked: &quot;So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?&quot;Menzi said:&quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。<br /> <br /> We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.<br /> <br /> <br /> <br /> When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’<br /> <br /> The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &quot;I don’t remember what happened when I was a child&quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)<br /> <br /> The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。<br /> <br /> Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)<br /> <br /> You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。<br /> <br /> If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)<br /> <br /> It would be better if Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？<br /> <br /> “Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)<br /> <br /> “Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。<br /> <br /> Finally, Pity Zhen could get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)<br /> <br /> Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？<br /> <br /> It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&quot; The servant said with a smile, &quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)<br /> <br /> It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”<br /> <br /> I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)<br /> <br /> I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：<br /> <br /> Rain Village Merchant says: &quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)<br /> <br /> Rain Village Merchant said:&quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> “老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”<br /> <br /> “What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)<br /> <br /> <br /> &quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。<br /> <br /> <br /> Djia Yu-tsun bowed his head for half a day before saying, &quot;What do you think?&quot; Mencius said, &quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。<br /> <br /> Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &quot;violent illness&quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)<br /> <br /> The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &quot;violent illness&quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：<br /> <br /> The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)<br /> <br /> The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。<br /> <br /> Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。<br /> <br /> The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)<br /> <br /> The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。<br /> <br /> The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)<br /> <br /> What about this plan, Master?&quot; Yu Cun laughed, &quot;No, it's not good. I'll have to think about it again, so that I can convince them.&quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。<br /> The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Rain village family then bent the law and judged the case haphazardly.<br /> <br /> Seeing Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &quot;nephew has finished, do not have to worry about&quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &quot;things about your nephew has been finished, do not need to worry about&quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。<br /> <br /> It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。<br /> <br /> Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .<br /> <br /> Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。<br /> <br /> His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.<br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)<br /> <br /> ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。<br /> <br /> Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)<br /> <br /> Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。<br /> <br /> Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。<br /> <br /> Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。<br /> <br /> Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)<br /> <br /> <br /> Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&quot;<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”<br /> <br /> So he discussed with his mother, &quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&quot; His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan<br /> <br /> So he discussed with his mother, &quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”<br /> <br /> Now we go to the capital Beijing, and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)<br /> <br /> &quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。<br /> <br /> Dragon Marshgrass said: &quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&quot; His mother answered:&quot; Be that as it may, we can still go to your aunt's husband's house.&quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：<br /> <br /> In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may <br /> try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。<br /> Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.<br /> <br /> Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”<br /> <br /> Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)<br /> <br /> Seeing that her brother was promoted, Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。<br /> <br /> Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)<br /> <br /> Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”<br /> <br /> “We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)<br /> <br /> “We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated to Lady King privately, &quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。<br /> <br /> Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)<br /> Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；<br /> <br /> There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)<br /> <br /> There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；<br /> <br /> During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.<br /> <br /> During the day, Precious Hairpin Marshgrass was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。<br /> <br /> at the same time he directed servants to go and sweep the apartments of their own house and they should move into them when they were ready.<br /> But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)<br /> <br /> At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，Dragon Marshgrass has been acquainted with hallf of the sons and nephews in the Jia family. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；<br /> Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Dragon Marshgrass, who is seduced, is ten times worse than that day. Although Pardon Merchant is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Treasure merchant, and he is the eldest grandson of the Ningguo Mansion, now everything is in charge of him.<br /> <br /> Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：<br /> <br /> Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:<br /> --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)<br /> <br /> ==Nadia 202011080004==<br /> <br /> 这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 日后如何，下回分解。葫芦僧判断葫芦案──<br /> What will happen eventually? The monk in the ground temple will abuse the law.<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> “葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。<br /> <br /> Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 女子无才便是德──语出明·张岱《公祭祁夫人文》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> (又见清·石成金《家训钞》引)<br /> Translation: (See also the quote from Shi Chengjin's &quot;Family Instructions&quot;)<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。<br /> English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of <br /> <br /> virtuous women in past dynasties to publicize the feudal virtues of women.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &quot;Biographies of Exemplary Women&quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 纺绩女红(gōng工)──泛指女子应做的家务活计。<br /> <br /> Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)<br /> <br /> Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。<br /> <br /> ''Fangji'': &quot;Fang&quot; means to spin silk into yarn, &quot;Ji&quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)<br /> <br /> ''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 女红：又作“女工”或“女功”。<br /> <br /> Female Red (''gong''): is also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)<br /> <br /> Female Red: also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 是指纺织、缝纫、刺绣等。<br /> <br /> Refers to textiles, sewing, embroidery, etc. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw<br /> <br /> which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)</div>

Wu Yinghong https://bou.de/u/index.php?title=20211215_homework&diff=135038 2021-12-31T02:22:14Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211208_homework&diff=135029 2021-12-30T15:55:48Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211208_homework&diff=135028 2021-12-30T15:55:07Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211124_homework&diff=135027 2021-12-30T15:49:43Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211110_homework&diff=135024 2021-12-30T15:42:07Z

<p>Wu Yinghong: /* 吴映红 Wú Yìnghóng 日语语言文学 女 202120081530 */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211110_homework|for Nov 10 - HLM Chapters 20-21]] etc.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> 按语：拙著《红楼梦全解本》出版后，受到了不少专家与读者的好评，甚为欣慰。但也有读者认为，如果能删掉部分注文，既不影响读者阅读，也可节省书的成本，使更多读者买得起。<br /> <br /> Note : After the publication of ''The Dream of Red Mansions(The Anotation Version)'', it was highly appreciated by many experts and readers. However, some readers believe that if some notes can be deleted, it will not affect readers ' reading and save the cost of the publication, so that more readers can afford it.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:02, 9 November 2021 (UTC)<br /> <br /> Note: after my book the complete interpretation of Drdam Of Red Chamber was published, it was highly praised by many experts and readers. However, some readers believe that if some annotations can be deleted, it will not affect readers' reading, but also save the cost of the book and make it affordable for more readers.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==<br /> 恰好中央编译出版社准备出版四大古典小说套书，为了平衡四部小说的注文，《红楼梦》的注文也嫌太长。因此接受读者的建议，将《红楼梦全解本》的注文删掉了差不多一半，其他一概未动；换言之，此版《红楼梦》校注本，实即《红楼梦全解本》的删节本（仅删注文）。因此《校注前言》仍用《红楼梦全解本》的《校注前言》，不再另写。<br /> <br /> It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of Dream Of the Red Chamber were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of Dream Of Red Chamber, and the rest remained unchanged; In other words, the revised annotation version of Dream Of Red Chamber is actually an abridged version of the complete interpretation of Dream Of Red Chamber (only the annotation is deleted). Therefore, the preface to proofreading still uses the preface to proofreading of the complete interpretation of Dream Of Red Chamber, and needn’t be written again.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)<br /> <br /> It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of ''The Dream of the Red Chamber'' were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of ''The Dream of Red Chamber'', and the rest remained unchanged; In other words, the revised annotation version of ''The Dream of Red Chamber'' is actually an abridged version of the complete interpretation of ''The Dream of Red Chamber'' (only the annotation is deleted). Therefore, ''The Preface to Proofreading'' still uses ''The Preface to Proofreading'' of the complete interpretation of ''Dream Of Red Chamber'', and needn’t be written again.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:32, 8 November 2021 (UTC)Chen Huini<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> 《红楼梦》以其包罗万象的内容，博大精深的思想，精湛完美的艺术，丰富生动的语言，尤其是众多栩栩如生的人物形象，不仅在中国小说史上奇峰独秀，而且在世界文学之林独树一帜。它是我国文化遗产中的珍品，值得每一个中国人所珍视。《红楼梦》在其尚未完稿的时候，已经被人竞相传抄，辗转传阅，不胫而走，蜚声神州。<br /> <br /> ''A Dream of Red Mansions'' is unique not only in the history of Chinese novels, but also in the world literature with its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth cherishing by every Chinese. ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire even when it's unfinished. It is really well-known in China.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:23, 8 November 2021 (UTC)Chen Huini<br /> <br /> ''A Dream of Red Mansions'' is outstanding not only in the history of Chinese novels, but also in the world literature for its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth being cherished by every Chinese.Before it is finished， ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire and it is really well-known in China.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:25, 10 November 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==<br /> 不仅“士大夫几乎家有《红楼梦》一书”（清·潘炤《从心录》卷首），而且“家弦户诵，妇孺皆知”（清·缪艮《文章游戏初编》卷六）。上层社会更出现了“开谈不说《红楼梦》，读尽诗书也枉然”（清·得舆《京都竹枝词·时尚门》）的时尚。《红楼梦》的魅力也使其商业价值大增，“好事者每传抄一部，置庙市中，昂其值，得数十金，可谓不胫而走者矣”（清·程伟元《〈红楼梦〉序》）。<br /> <br /> ''A Dream of Red Mansions'' was so popular that not only scholar officals（people obtain knowledge and wealth in feudal China） read it （the first volum of ''Essay'' by Pan Zhao, Qing），but also families，even women and children ， loved it（the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing）. Moreover ,there was a climate of ''A Dream of Red Mansions'' that the upper class believed &quot; it is useless to read great books without ''A Dream of Red Mansions''.（''Bamboo Pole Poem in the Capital'' by De Yu, Qing）. The charm of ''A Dream of Red Mansions'' also rose its business value as in record： “Someone who is willing to copy ''A Dream of Red Mansions'' and sell it can raise 10 gold ingots everytime ，and everyone know it.（ the introduction of ''A Dream of Red Mansions'', Qing）.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:44, 7 November 2021 (UTC)<br /> <br /> Not only did &quot;almost every scholar had a copy of ''A Dream of Red Mansions''&quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &quot;Every household recited it, and all women and children knew it&quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&quot; (''Bamboo Pole Poem in the Capital'' by De Yu, Qing Dynasty) emerged. The charm of A Dream of Red Mansions also made its commercial value increased greatly, &quot;Those who are interested in it can get a lot of money by copying one of the books and selling it in the market. The information spread quickly.&quot; (the introduction of ''A Dream of Red Mansions'', Qing Dynasty)--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:07, 8 November 2021 (UTC)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> 至高鹗续写后四十回、由程伟元以活字正式出版完整的一百二十回本后，更出现了风行全国的盛况。时至今日，即使读不懂《红楼梦》的人，也都看过《红楼梦》电影或电视剧，对《红楼梦》的故事和人物无不耳熟能详。因此《红楼梦》已经不是普通的小说，而成为全民珍视的国宝了。<br /> <br /> After Gao E continued to write the second forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide. To this day, even those who do not understand ''A Dream of Red Mansions'' have seen the movie or TV series versions, and are familiar with the story and characters of ''A Dream of Red Mansions''. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:39, 8 November 2021 (UTC)<br /> After Gao E continued to write the following forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide increasingly. To this day, even those who do not understand ''A Dream of Red Mansions'' have already seen the movie or TV series versions, and are familiar with the story and characters of it. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:37, 10 November 2021 (UTC)<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> 中国古代的文人墨客、传统学者、官僚士夫，无不鄙薄小说，最多被视为茶余饭后的谈资。唯独对《红楼梦》情有独钟，爱不释手。不仅百读不厌，而且像拜读经书般寻章摘句，眉批夹评，乐此不疲。<br /> The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talk at most. But they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:33, 10 November 2021 (UTC)<br /> <br /> The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talks at most. However, they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only weren't tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 14:07, 12 November 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> 久而久之，居然形成了“红学”。“红学”由起初对《红楼梦》的单纯评点，逐步发展成为对《红楼梦》及其作者的全面考证与研究，最后更成立了红学会，出版研究刊物，势头似乎越来越盛。这不仅是中国小说史上绝无仅有的，也是中国文学史上极其罕见的现象。<br /> <br /> As time passes, redology is actually formed. Redology was about pure comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study in ''A Dream in Red Mansion'' and its author. Finally, we even established redologist institution and published research periodicals, the momentum of redology more and more flourishing. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:29, 9 November 2021 (UTC)<br /> <br /> As time passes, redology is unexpectedly formed. Redology came into mere comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study of this work and its author. Finally, redologist institution was established to publish research periodicals with more flourishing tendency than ever. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 11:49, 10 November 2021 (UTC)<br /> <br /> ==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==<br /> 遗憾的是，“红学家”们对《红楼梦》的作者及其版本似乎偏爱有加，而对《红楼梦》的思想和艺术价值却缺乏足够的兴趣，因此考证作者和版本的文章和著作连篇累牍，而研究《红楼梦》思想和艺术价值的成果却寥若晨星。我认为这是本末倒置。一个作家的价值不在于其生平如何，而在于其作品的思想和艺术水平的高低；是作品决定作家的价值，而不是作家决定作品的价值。<br /> <br /> Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seemingly are partial to research on the writer and verison of this book, but are short of interest for it's thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:31, 6 November 2021 (UTC)<br /> <br /> Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seem to prefer to research on the writer and versions of this book, but are short of interest in the thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 9 November 2021 (UTC)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> 读者对于作品的选择与评价，也只着眼于作品本身，而非作家本人。一部伟大的作品，即使作者佚名，也不影响其伟大，照样受到读者的追捧；相反，如果一个伟大作家偶然写了一部低劣的作品，读者也决不买账。因此“红学”的研究重点应该是《红楼梦》本身，而不是《红楼梦》作者。<br /> <br /> Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the valued of a great work is definitely unlikely to be underestimated, which is still welcomed by the public. Likewise, readers cannot be attracted by the inferior work written by a great writer. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:01, 9 November 2021 (UTC)<br /> <br /> Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the values of a great work are definitely unlikely to be underestimated, which is still popular with the public. Likewise, readers cannot be attracted by a low-quality work even written by a great writer occasionally. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:02, 10 November 2021 (UTC)<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> 当然也应该了解作者，但目的只是为了有助于深入了解《红楼梦》，仅此而已。我认为要想深入研究《红楼梦》，首先必须完全读懂《红楼梦》。如果对《红楼梦》的文本只是一知半解，那么所谓研究，势必如医生不明病人的病情而乱开药方，不仅治不好病，倒可能致人于死命。<br /> <br /> Certainly, we should also know the author, but the purpose is nothing more than to help us understand ''A Dream of Red Chamber'' in depth. I think that in order to make a further research on ''A Dream of the Red Chamber'', we must first have a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Chamber'', then the so-called research would definitely be like the prescriptions prescribed indiscriminately without knowing the patient's condition. Not only can it not cure the disease, but it may lead to death.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:53, 6 November 2021 (UTC)<br /> <br /> Certainly, we should also know about the author, but only with the purpose of deepening our understanding of the work. I think that further researches on ''A Dream of Red Mansions'' necessitate a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Mansions'', then the so-called research would definitely be like the prescriptions written indiscriminately by a doctor unaware of the patient's condition. Not only can it not cure the disease, but it may lead to death. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:04, 7 November 2021 (UTC)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> 《红楼梦》研究中的许多无谓争论，正是研究者没有读懂《红楼梦》或对《红楼梦》文本的不同理解所致。因此对《红楼梦》文本的注释，显然是《红楼梦》研究的基础工作。其次，当今的读者和观众虽然热衷于《红楼梦》，但真正能够全面深入理解《红楼梦》的人恐怕并不很多。<br /> <br /> A great many arguments regarding the study of ''A Dream of Red Mansions'', caused either by an incomplete understanding or different understandings of the text, are pointless. Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:09, 7 November 2021 (UTC)<br /> <br /> Many unnecessary arguments in the study of ''A Dream of Red Mansions'' are caused by the researchers' failure to understand ''A dream of Red Mansions'' or their different understandings of the text.Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 11:14, 13 November 2021 (UTC)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> 这是因为，《红楼梦》不是普通的白话小说，不是简单地为读者讲故事，不是为读者提供茶馀饭后的谈资，更不是为了赚稿费餬口（那时根本不存在稿费制度）。它不仅是一部反映封建社会的“百科全书”，而且作者还对人类共同关心的一些问题，如人生的目的、人性的善恶、爱情的真谛、宗教的精义等进行了探索。作品涉及的内容几乎无所不包，从至高无上的皇帝，到“芥豆之微”的细民，从国家的政治、军事、经济到百姓的日常生活，举凡天文、地理、动物、植物、建筑、服饰、医卜星相、琴棋书画等等，无不尽收笔底。<br /> <br /> This is because ''A Dream of Red Mansions'' is not an ordinary vernacular novel. It is not simply a story for readers to read, not a topic for after-dinner conversation, or a way to earn a living (there was no contribution fee system at that time). It is not only an &quot;encyclopedia&quot; reflecting the feudal society, but also explores some common issues of human concern, such as the purpose of life, the good and evil of human nature, the true meaning of love, the essence of religion and so on. The works cover almost everything, from the supreme emperor to the ordinary people, from national politics, military affairs, economy to the daily life of the people, including astronomy, geography, animals, plants, architecture, clothing, medicine, astrology and practise divination, poetry and painting and so on, they're all in the book.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:47, 6 November 2021 (UTC)<br /> <br /> It is because ''Dream of the Red Chamber'' is neither an ordinary novel in vernacular Chinese, nor a simple narrative or gossip for readers. The author wrote it not for remuneration for the system of remuneration for writters did not exist at that time. It is not only an &quot;encyclopedia&quot; reflecting the feudal society, but also an exploration of some issues of common concern to mankind, such as the purpose of life, the good and evil of human nature, the true meaning of love, and the essence of religion. It covers almost everything, from the supreme emperor to the plebeian as tiny as reed, and from the politics, military and economy of the country to the daily life of the people. It includes astronomy, geography, animals, plants, architecture, costumes, medicine, astrology, zither, chess, calligraphy and painting, and so on. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:48, 10 November 2021 (UTC)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> 作者还调动了自己的全部才能和知识，汲取了前人的成果，撰写并引用了大量诗、词、曲、赋、歌、诔、谜语、酒令等，作为描写人物、叙述故事、揭示主题的艺术手段，从而成为作品的重要组成部分。这其中蕴藏着许多成语、典故和各种知识，现在的一般读者是很难读懂的。此外，由于曹雪芹以其家事为《红楼梦》的蓝本，且暴露了不少家丑，如秦可卿的淫荡乱伦等，因而大量采用了《春秋》笔法，即作者所谓将“真事隐去”，以“假语村言”的曲折方式进行暗示或隐寓，致使《红楼梦》扑朔迷离，迷雾重重。<br /> <br /> The author also mobilized all his talents and knowledge and drew on the achievements of his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. This contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for Dream of the Red Chamber and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, adopted much of a writing style of ''Spring and Autumn Annals'', that is, the author's so-called &quot;real things concealed&quot;, in the twisted way of &quot;false words and village gossips&quot;, which has led to the ''Dream of the Red Chamber'' being puzzling and foggy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:28, 10 November 2021 (UTC)<br /> <br /> The author also mobilized all his talents and knowledge and took results from his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. The novel contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for ''A Dream in Red Mansions'' and exposed many family scandals, such as Qin Keqing's lewdness and incest. Cao, thus, frequently adopted a writing style of Spring and Autumn Annals, that is, the author's so-called &quot;real things concealed&quot;, using the twisted way of &quot;false words and village gossips&quot; to hint and make it metaphorical which has led to ''A Dream in Red Mansions'' being puzzling and foggy.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 08:35, 14 November 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> 因此帮助广大读者读懂《红楼梦》，也是《红楼梦》研究者义不容辞的责任。而要使读者读懂《红楼梦》，只作简单的文字注释不解决问题，必须加以详细注释，将隐藏于《红楼梦》字里行间的寓意一一揭示出来，才能完全展示《红楼梦》的本来面貌。我从学生时代起就期待这种《红楼梦》的详注本出现，一直等了半个世纪，可惜望眼欲穿而不见踪影。<br /> <br /> Therefore, it is incumbent on researchers of ''A Dream in Red Mansions'' to help numerous readers understand the novel. For this, problem can’t be solved simply by text annotations. What should do is to add detailed explanatory notes to discover the meanings implied in characters, which can fully show the way the book originally is. I have expected the appearance of this version with detailed annotations since I was a student. I’ve waited for half a century, but it never comes out.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:46, 12 November 2021 (UTC)<br /> <br /> Therefore, it is our researchers' duty to heip numerous readers understand A Dream in Red Mansions. To do that, simple text annotations are not enough. And detailed explanatory notes are needed to discover its implied meanings, which can fully show its characteristics. Waiting for half century, I have expected the apppearance of this version with detailed annotations since I was a student.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 01:49, 15 November 2021 (UTC)<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> 很显然，“红学家”的队伍虽然不断壮大，看来他们对这种注释工作似乎不屑一顾。于是我这个“红学”的门外汉便斗胆一试，结果试出了这个《红楼梦》校注本。我这是“人弃我取”，希望不至于冒犯任何人。<br /> <br /> Obviously, the amount of redologists who are sepcalists in A Dream of Red Mansion was increasing. They seemed to pay no attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing the things others gave up, which would not offend anyone.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:52, 7 November 2021 (UTC)<br /> <br /> Obviously, the amount of redologists sepcalizing in A Dream of Red Mansion was increasing. They seemed to pay little attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing things others gave up, which I hope would not offend anyone.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:20, 7 November 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> 如果能成为“引玉”之“砖”，即使要做“众矢之的”，招来“万箭攒射”，我也决不后悔，因为这也算是我对《红楼梦》读者的小小奉献了。下面仅就与校注工作有关的几个具体问题略作说明。<br /> <br /> 一、作者问题<br /> <br /> If I can serve as a modest spur to induce someone to come forward with his valuable contributions, I will never regret even if I could be the target of public criticism. It is because that the annotation work is also my dedication to the readers of A Dream of Red Mansions. And I will explain a little about the specific questions in proofreading below. 1. The Question of Author--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:40, 7 November 2021 (UTC)<br /> <br /> If I can become a &quot;brick&quot; for &quot;inviting jade&quot;, even if I want to be &quot;a target of all targets&quot; and attract &quot;a thousand arrows&quot;, I will never regret it, because this is also a small dedication to the readers of &quot;A Dream of Red Mansions&quot;. The following is only a brief description of a few specific issues related to the proofreading work.<br /> 1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> 中国文学史中有两个突出现象：一是在封建时代得意并著名的文人不写小说；二是小说作品多不署名或只署化名。这完全是由封建统治者造成的。封建统治者的文学观是纯粹的政治功利主义，即所谓“文以载道”。<br /> <br /> There are two outstanding phenomena in the history of Chinese literature: one is that famous and proud literati in the feudal era do not write novels; the other is that many novels do not sign or only sign pseudonyms. This is entirely caused by the feudal ruler. The feudal ruler’s literary view is pure political utilitarianism, that is, the so-called &quot;writing is used to carry Tao&quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)<br /> <br /> There are two prominent phenomena in the history of Chinese Literature: first, the proud and famous literati in the feudal era did not write novels; Second, most novels are not signed or only signed by pseudonyms. This was entirely caused by the feudal rulers. The literary view of feudal rulers was pure political utilitarianism, that is, the so-called &quot;literature carries Tao&quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> 他们认为小说不仅不能“载道”，而且往往“诲淫诲盗”，对封建统治构成威胁。因此不仅将小说排斥在正统文学之外，甚至常常以“禁毁”的方式加以扫荡。在文网森严及小说地位低贱的环境下，多数文人自然不敢或不屑从事小说的创作；而那些痴迷小说的作者也就不敢或不愿在小说作品上亮出自己的真名实姓。They faithfully believe that novels not only can not &quot;educate citizens of Qing Dynasty&quot;, but also often be blessed with &quot;obscenity and theft&quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &quot;prohibition and destruction&quot;. In the social background of highly strict policy of Literary Network and low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to show their real names in their novels.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:46, 10 November 2021 (UTC)Huang Zhuliang<br /> <br /> They believed that novels not only can not &quot;educate citizens of Qing Dynasty&quot;, but also often be blessed with &quot;obscenity and theft&quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &quot;prohibition and destruction&quot;. In the social background of highly strict policy of Literary Network and of low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to sign their real names in their novels.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:18, 11 November 2021 (UTC)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> 因此研究中国古代小说多了一项工作，即不得不对小说作者加以考证。《红楼梦》也不例外，它的作者连化名都未署一个。“红学家”们为了考证它的作者，不知耗费了多少精力和时间，然而由于史料不足，至今仍然众说纷纭,难以形成共识。<br /> <br /> Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception. Its author does not even have a pseudonym. In order to do textual research on its author, the &quot;redologists&quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 01:57, 6 November 2021 (UTC)<br /> Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception, whose author does not even have a pseudonym. In order to do textual research on its author, the &quot;redologists&quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:39, 15 November 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> 据我个人所知，至少就有七种说法：其一为“曹作高续”说。即认为曹雪芹写到八十回而去世，并可能留下了后四十回的某些提纲以及部分书稿；高鹗根据曹雪芹的这些提纲、书稿以及前八十回中的许多暗示，还可能参考了其他人的续作，完成了后四十回的创作，并对前八十回加以修订，从而使《红楼梦》成为完璧。<br /> As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao passed away and left some outline and manuscripts of the latter fourth chapters when the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished. --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:27, 15 November 2021 (UTC)<br /> <br /> As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao had passed away and left some outline and manuscripts of the latter fourth chapters while the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:04, 15 November 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> 其二为“曹作程续高订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是程伟元，高鹗只是参加了全书的修订工作。其三为“曹作高续程订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是高鹗，程伟元则对曹雪芹的前八十回加以修订。<br /> <br /> The second is the theory of &quot;Cao came to write, Cheng continued to write, Gao to revise&quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Cheng Weiyuan, and Gao E only participated in the revision of the whole book. The third is the theory of &quot;Cao came to write, Gao continued to write, Cheng to revise&quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Gao E, and Cheng Weiyuan revised Cao Xueqin's first 80 chapters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:47, 6 November 2021 (UTC)<br /> <br /> <br /> The second statement said that &quot;Started by Cao, completed by Chen, and revised by Gao&quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Cheng Weiyuan, and Gao E only revised the whole book. The third statement said that &quot;Started by Cao, completed by Gao, and revised by Chen&quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Gao E, and Cheng Weiyaun made revisions to the first 80 chapters of Cao Xueqin.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:56, 10 November 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> 其四为“曹作某续高订”说。即认为在程伟元和高鹗之前，已有人为曹雪芹的未完稿续写完全，程伟元将搜集到的抄本交由高鹗修订，然后刊行。其五为“曹作程高修订”说。<br /> <br /> The fourth statement said that “Started by Cao, completed by someone, and revised by Gao”. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished writing. Then, Cheng Weiyuan collected this hand-copied version and provided it for Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published . The fifth statement said that “Started by Cao, and revised by both Cheng and Gao ”.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 08:08, 10 November 2021 (UTC)<br /> <br /> <br /> The fourth statement said that &quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&quot;. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished work. Then, Cheng Weiyuan collected these hand-copied drafts and offered them to Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published. The fifth statement noted that &quot;It was started by Cao, and revised by both Cheng and Gao&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> 即认为曹雪芹已经完成了《红楼梦》全书，只是未遑修饰而去世，后由程伟元和高鹗共同修订并刊行。其六为“叔作侄订”说。即认为《红楼梦》的原作者是曹雪芹的叔父曹頫，也就是给《红楼梦》加批的“脂砚斋”；曹雪芹只是对它“披阅十载，增删五次”。<br /> <br /> It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', while as a result of his death it was not polished by himself, but co-revised and published by Cheng Weiyuan an Gao 'E later on. Sixly, rumar had it that this classic was the common product of the uncle and the nephew. That was to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:55, 14 November 2021 (UTC)<br /> <br /> It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions''. As a result of his death it was not published by himself. However, co-revised and published by Cheng Weiyuan an Gao 'E later on. Rumar had it that this classic was the common product of the uncle and the nephew. Which shows, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the only one who added notes in that masterpiece, and Cao Xueqin just repeatedly revised it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:35, 6 November 2021 (UTC)<br /> --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)<br /> <br /> It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', but died before he could polish it. As a result, the draft was co-revised and published by Cheng Weiyuan an Gao 'E later on. The sixth opinion is that this classic is the common product of the uncle and the nephew. That's to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:35, 14 November 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> 其七为“某作曹订”说。即认为《红楼梦》的原作者是个与曹家毫不相干的无名氏，曹雪芹只是个修订者。“红学家”对《红楼梦》作者的意见分歧，使出版者无所适从，因而造成了新版《红楼梦》署名的混乱：或只署曹雪芹，或并署曹雪芹、高鹗，或干脆不署名。<br /> <br /> The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''A Dream in Red Mansions'' is an anonymous person who has no relation with Cao’s family, and Cao Xueqin is only the reviser. The different opinions among the “redologists” about the author of ''A Dream of Red Mansions'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:40, 10 November 2021 (UTC)<br /> <br /> The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''The Dream of the Red Chamber'' was an anonymous person who had no relation with the Cao’s, and Cao Xueqin was only a reviser. The different opinions among the “redologists” about the author of ''The Dream of the Red Chamber'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:33, 10 November 2021 (UTC)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> 由于我对这个问题缺乏专门研究，只能在以上七种说法中加以选择。我认为这七种说法都有一定的根据，均非空穴来风。但相比之下，第一种说法的证据更为充分，也得到了学界的普遍认可，因此仍将曹雪芹和高鹗作为《红楼梦》的共同作者。<br /> <br /> Because of a lack of specialized research to this question, I had to select from the seven statements above. I thought that the seven statements were of certain basis. However, with comparison, the evidence of first statement was more sufficient, and was largely approved by the academic circles. So, Cao Xueqin Autor and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:47, 6 November 2021 (UTC)<br /> Being lacking in specialized research to this question, I had to select from the above seven versions . I thought that they were of certain basis. However, with comparison, the first statement was more credible, and was largely approved by the academic circles. So, Cao Xueqin and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:57, 10 November 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> 至于这种说法的具体根据，以及两作者的生平，已见于不少专文，这里不再赘述。<br /> <br /> 二、版本问题<br /> <br /> 由于《红楼梦》创作过程和流传过程的特殊性，造成了《红楼梦》版本的复杂性。<br /> We will not describe more about the specific reason of this opinion and lives of the two authors because a lot of scholars have discussed it.<br /> 二、Version problem<br /> The unique process of creating and circulating A Dream in Red Mansions leads to such complicated versions of it.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:52, 10 November 2021 (UTC)<br /> <br /> As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.<br /> Second, the version of the problem because of the &quot;Dream of Red Mansions&quot; creative process and the special nature of the process of circulation, resulting in the &quot;Dream of Red Mansions&quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 而《红楼梦》版本的复杂性，又迫使我们不得不有所选择。《红楼梦》的创作和流传过程可以分为四个阶段：其一是曹雪芹的创作阶段。虽然曹雪芹自称“披阅十载，增删五次”，其实由于他溘然而逝，只留下了一部《红楼梦》的未完稿和未定稿。<br /> <br /> The complexity of the version of a Dream of Red Mansions forces us to make choices. The creation and spread of a Dream of Red Mansions can be divided into four stages: one is Cao Xueqin Autor's creation stage. Although Cao Xueqin Autor, claimed that &quot;reading for ten years, adding and deleting five times&quot;, in fact, because of his death, leaving only a dream of red Mansions unfinished and unfinished.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 08:59, 9 November 2021 (UTC)<br /> --[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)<br /> The complexity of the version of a ''dream of Red Mansions'' forces us to choose. The creation and spread of the ''dream of Red Mansions'' can be divided into four stages: one is the creation stage of Cao Xueqin Autor. Although Cao Xueqin Autor claimed to &quot;read for ten years, add and delete five times&quot;, in fact, due to his death, only one unfinished and undecided version of a dream of Red Mansions was left.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:16, 9 November 2021 (UTC)<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> 他只完成了八十回，约相当于全书的三分之二。他不仅未对这八十回的书稿进行修订润色，而且还有不少待补的缺文。以“红学家”认为最好的版本“庚辰本”为例：第十七、十八两回合用一套回目，第十九回没有回目；第二十二回写荣国府作灯谜游戏，“此回未成而芹逝矣”(脂砚斋批语)，以至不仅缺了主要人物贾宝玉、林黛玉和史湘云的灯谜，而且本回还有不少其他缺文；如此等等。<br /> He completed only eighty times, about two-thirds of the book. Not only did he leave the eighty drafts unrevised, but there was still much to be done. To the researcher of a dream of Red Mansions that the best version of the &quot;gengchen Ben&quot; as an example: the 17th, 18th round with a set of return, the 19th back no return; The twenty-second time to write rongguo Mansion for lantern riddle game, the chapter is unfinished but Cao Xueqin is dead (the ink stone lent comments), so that not only the lack of lantern riddles of the main characters Precious Jade Merchant , Mascara Jade Forest and Fragrant-cloud History, and this time there are many other lack of text; And so on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:26, 7 November 2021 (UTC)<br /> <br /> He completed only eighty chapters, about two-thirds of the whole book. Not only did he leave the eighty drafts unrevised and unpolished, but there was still much missing pages to be filled. Take the “Gengchen Version” as an example, which was considered the best version by Redology scholars, the 17th, 18th chapters kept the same content and the 19th had no content; The chapter 22, which was about Rongguo Mansion' lantern riddle game, was unfinished before Cao Xueqin passed away. (comments from the Ink Stone Lent), so that there was not only a lack of lantern riddles of the main characters Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History, but also many other contents, and so on.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:53, 7 November 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> 其二是曹雪芹《红楼梦》八十回本的传抄阶段，其间大约近三十年。由于抄书速度很慢，《红楼梦》的篇幅又很长，要想在短时间内抄完一部，需集多人之手。故多为达官显宦之家雇佣抄手，集体完成。<br /> <br /> The second lay in the transmission and copying stage of 80 chapters of Cao Xueqin's ''A Dream of Red Mansions'', which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to scribe it done in a short time. Therefore it was the noble officials anddignitaries who often hired scribes to do the task together.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:39, 7 November 2021 (UTC)<br /> <br /> The second stage is the transmission and copying of 80 chapters of ''A Dream of Red Mansions'' written by Cao Xueqin, which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to finish it in a short time. Therefore it was the noble officials and dignitaries who often hired scribes to do the task together.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 05:33, 10 November 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> 又因它是一部未完稿和未定稿，抄手便自觉或不自觉地加以增删修改；而抄手大多水平不高，且良莠不齐，鲁鱼亥豕，在所难免。从而导致大量异文乃至讹误的产生。其三是高鹗和程伟元续写后四十回并对全书进行修订和刊行的阶段。<br /> <br /> And because it was an unfinished and undecided manuscript, the scribes consciously or unconsciously added, deleted and modified it. Most scribes lacked skills and the level of copying varied in quality. Accordingly, it was inevitable that clerical errors occurred, which led to a large number of variant versions of the book and even misinterpretations in the text. The third was the stage when Gao E and Cheng Weiyuan wrote a continuation of 40 chapters for ''A Dream in Red Mansions'', revised and published the whole book.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:29, 6 November 2021 (UTC)<br /> <br /> And because it was an unfinished and undecided manuscript, the copywriters consciously or unconsciously added, deleted or modified it; Because most copywriters lacked skills and their level of copying varied in quality.so it was inevitable that led to a large number of different texts and even errors in the text. The third was the stage when E Gao and Weiyuan Cheng continued to write the last 40 chapters of ''A Dream in Red Mansions'',revised and published the whole book. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:47, 7 November 2021 (UTC)Liu Wei<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> 其间又可分为四段：首先由程伟元对各种《红楼梦》抄本加以搜集(其中可能包括无名氏续写的书稿)；其次由高鹗续写后四十回，并对前八十回进行大量修订(程伟元也可能参与了修订工作)；又次由程伟元于乾隆五十六年（公元1791年）用活字排印出版一百二十回本，后来被胡适先生命名为“程甲本”；次年由高鹗和程伟元对“程甲本”加以修订再版，后来又被胡适先生命名为“程乙本”。据说还有“程丙本”，如今已经不知下落，据个别看过的人说，较之“程乙本”改动甚少，因而可以置之不论。<br /> <br /> It can be divided into four periods: firstly,Weiyuan Cheng collected various transcripts of ''A Dream of Red Mansions ''(including the manuscripts of a sequel written by anonymous authors); Secondly,E Gao continued to write the last 40 chapters and made a lot of revisions to the first 80 chapters (Weiyuan Cheng may also had participated in the revision work); thirdly, another 120 copies were printed and published by Weiyuan Cheng in movable type in the 56th year of the Emperor of Qianlong (AD 1791), which was later named &quot;Cheng Jia Edition&quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &quot;Cheng Jia Edition&quot;, which was later named &quot;Cheng Yi Ben&quot; by Mr.Shi Hu. It is said that there is also &quot;Cheng bing Edition&quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &quot;Cheng Yi Edition&quot;, so it can be set aside. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei<br /> <br /> It can be divided into four stages: in the first stage, Cheng Weiyuan collected all kinds of transcripts of ''A Dream of Red Mansions'' (including the manuscripts of a sequel written by unknown authors); Secondly, Gao E continued the last 40 chapters and made a lot of revisions to the first 80 ones (Cheng Weiyuan may also had participated in the revision work); thirdly, another 120 copies were printed and published by Cheng Weiyuan in movable type in the 56th year under the reign of the emperor Qianlong (AD 1791), which were later named &quot;Cheng Jia (the first) Editions&quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &quot;Cheng Jia Edition&quot;, which was later named &quot;Cheng Yi (the second) Edition&quot; by Hu Shi. It is said that there was also &quot;Cheng Bing (the third) Edition&quot;, which now has no whereabouts. According to someone who had once read it, compared with &quot;Cheng Yi Edition&quot;, there were so few changes that it could be set aside.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:11, 8 November 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> 其四是《红楼梦》刊本的流传阶段。此段从程伟元的活字本问世开始，直到现在。在刊本出现后，虽然由于某些人的爱好或习惯，仍有抄本流传，但已是强弩之末，不成气候，而刊本的流传却如燎原之势，席卷全国。<br /> <br /> The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage has been going on since Cheng Weiyuan's movable printed editions were published. After these versions appeared, though transcripts were still spreading due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 14:22, 6 November 2021 (UTC)<br /> <br /> The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage start from cheng Weiyuan's movable type book came out and until now. After the publication appeared, although due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:00, 8 November 2021 (UTC)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> 《红楼梦》如此特殊的创作和流传过程，导致了《红楼梦》的“三多”现象：版本多，异文多，讹误多。幸运的是，近几十年来，这些版本不仅不断被发现，而且陆续被影印出版，从而使我们得以大饱眼福。仅就我个人视野所及，即有十二种版本，而且五花八门：或名《石头记》(5种)，或名《红楼梦》(7种)；或为抄本(10种)，或为刊本(2种)；或为八十回系统(8种，其中6种为残本)，或为一百二十回系统(4种)。<br /> <br /> The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &quot;three many&quot; : many versions, many different texts and many errors. Fortunately, in recent decades, these editions have not only been discovered, but photocopied and published, so that we can feast our eyes on them. As far as I can see, there are twelve versions, and they are diverse，named as &quot;The Story of the Stone&quot; (five versions) or &quot;A Dream of Red Mansions&quot; (seven versions). Some are codex (10 kinds) and some are periodical (2 kinds); Some are 80 chapter system (8 types, 6 of which are incomplete) and some are 120 chapter system (4 types).--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:53, 8 November 2021 (UTC)<br /> <br /> The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &quot;three many&quot;: many editions, many variants and many errors. Fortunately, in recent decades, these editions have not only been discovered, but successively photocopied and published, which greatly regale us. As far as I know, there are twelve editions in great diversity. Some are titled ''The Story of the Stone'' (five editions), or ''A Dream of Red Mansions'' (seven editions); some are hand-copied (10 editions), while some printed (8 including 6 incomplete editions); some are composed of 80 chapters, while some others 120 chapters.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:17, 13 November 2021 (UTC)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> 《红楼梦》的众多版本，对于研究者是极有价值的，它们可以帮助研究者分析《红楼梦》的创作过程和流传过程，并进行比较研究。但对于普通读者来说，如此眼花缭乱的版本，犹如坠入五里雾中，使他们无从选择。因此《红楼梦》的研究者有义务为他们提供一个最好的版本。<br /> <br /> The various versions of ''Dream of the Red Chamber'' have enormous value to researchers. They can be helpful to researchers in analyzing the processes of creation and dissemination, and facilitating comparative studies. However, for common readers, such a dazzling array of versions might leave them with a foggy head and unable to decide. Therefore, researchers are obliged to offer the best version. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 06:09, 10 November 2021 (UTC)<br /> The various versions of ''Dream of the Red Chamber'' are valuable to researchers, which can helpful to them in analyzing the processes of creation and dissemination of the book, as well as working on comparative studies. However, it would be confusing and indeterminable for the general readers when facing with such a dazzling array of versions. It’ s therefore incumbent upon researchers to offer the best version.<br /> --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> 况且为了很好地保存这笔珍贵的文化遗产，也必须确立一种《红楼梦》的最好版本。那么哪一种版本是《红楼梦》的最好版本呢？答案就是“程乙本”。鉴于至今仍有“红学家”对高鹗续写的《红楼梦》后四十回既持否定态度，又在出版《红楼梦》时不得不用它与曹雪芹的前八十回相配为完整的一百二十回本，我在这里必须首先对高续后四十回的价值略作说明。<br /> <br /> Moreover, in order to preserve this precious cultural heritage, it is also necessary to establish the best version of ''Dream of the Red Chamber''. So which is the best version? The answer is &quot;Cheng Yi Ben&quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &quot;Redologists&quot; who have a negative attitude towards Gao E 's subsequent writing of the later forty chapters of ''Dream of the Red Chamber'', and who had to use Gao‘ s creation in conjunction with Cao Xueqin's first eighty chapters as the complete one—hundred and twenty chapters, I must first give a brief explanation of the value of Gao's continuation of the later forty chapters.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:18, 8 November 2021 (UTC)<br /> <br /> Moreover，it is also necessary to establish the best version of ''Dream of the Red Chamber'' to preserve this precious cultural heritage.So which one is the best version of it？The answer is &quot;Cheng Yi Ben&quot;.Since there is still opposition against the forty chapters wrote by Gao E，the “master of the Dream of the Red Chamber，while it is a must to combine them and the eighty chapters wrote by Cao Xueqin to form an integral book which has one hundred and twenty chapters，I must briefly introduce the value of the forty chapters wrote by Gao E--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 08:46, 10 November 2021 (UTC)<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> 率先冲破评点派和索隐派而从中国小说发展史的角度客观评价高鹗续书的是胡适先生。他在1921年11月12日定稿的《〈红楼梦〉考证》（见1923年亚东图书馆版《胡适文存》）中说：我们平心而论，高鹗补的四十回，虽然比不上前八十回，也确然有不可埋没的好处。他写司棋之死，写鸳鸯之死，写妙玉的遭遇，写凤姐的死，写袭人的嫁，都是很有精采的小品文字。<br /> The man who first transcend the groups of criticizing and objectively comment the continuation of Gao E from the perspective of the history of the development of Chinese novels is Hu Shi.He said in his 《Test of the Dream of the red mansions》finalised in 1921，12th November that：“To be honest，Gao E’s supplementary forty chapters，though not comparable to the original eighty chapters，still boast their own outstanding merits.For instance，he wrote the death of Si Qi，of Yuan Yang，of Feng Jie，the encounter of Miao Yu and the marriage of Xi Ren，are all excellent facetious words.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:08, 9 November 2021 (UTC)<br /> <br /> It was Mr. Hu Shi who firstly made a breakthrough between “Pingdian Group” and “Suoying Group” and objectively evaluated Gao E’s continuation from the perspective of Chinese novel’s history. In ''A Textual Research on A Dream of Red Mansions'' finalized on November 12, 1921 (''Hu Shi’s Article Archive'', Yadong Library Edition, 1923), he said, “To be fair, the following forty episodes written by Gao E certainly have undeniable charm although not as good as the previous eighty. He ended Siqi’s life with death, wrote about the death of Yuanyang, the suffering of Miaoyu, Sister Feng’s demise and the marriage of Xiren, all of which are really brilliant sketches. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:31, 12 November 2021 (UTC)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> 最可注意的是这些人都写作悲剧的下场。还有那最重要的“木石前盟”一件公案，高鹗居然忍心害理的教黛玉病死，教宝玉出家，作一个大悲剧的结束，打破了中国小说的团圆迷信。这一点悲剧的眼光，不能不令人佩服。<br /> <br /> It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &quot; Wood and Stone's Previous Oath&quot;. In the novel, Gao E auturally had the heart to leave Daiyu to die of illness and Baoyu to become a monk. He made it ended up as a great tragedy and broke the routine of &quot;reunion superstition&quot; in traditional Chinese novels, which could not be more admirable from the tragic perspective.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:00, 7 November 2021 (UTC)<br /> <br /> It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &quot;The Pledge in front of Wood and Stone&quot;, in the novel, the author Gao E actually ended Mascara Jade Forest's (Lin Daiyu's) life with death resulting from illness and left Precious Jade Merchant (Jia Baoyu) to become a monk. Gao E finished ''A Dream of Red Mansions'' with a tragical epilogue so as to break the superstition that Chinese novels routinely end in happy reunion. In this sense, Gao E's tragic perspective deserves admiration and praise.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:09, 7 November 2021 (UTC)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> 我们试看高鹗以后，那许多续《红楼梦》和补《红楼梦》的人，那一个不是想把黛玉、晴雯都从棺材里扶出来，重新配给宝玉？那一个不是想做一部“团圆”的《红楼梦》的？我们这里退一步想，就不能不佩服高鹗的补本了。我们不但佩服，还应该感谢他，因为他这部悲剧的补本……居然打倒了后来无数的团圆《红楼梦》，居然替中国保存了一部有悲剧下场的小说！<br /> <br /> As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Mascars Jade Forest (Lin Daiyu) and Sunny Cloud Formation (Qing Wen), who died and lay in coffin, and then to betroth them to Precious Jade Merchant (Jia Baoyu). And these writers all had the desire to end the story in a warm reunion. On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:35, 7 November 2021 (UTC)<br /> <br /> As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Lin Daiyu and Qing Wen (or Sunny Cloud Formation), who died and lay in coffin, and then to betroth them to Jia Baoyu (or Precious Jade Merchant). Which writer did not want to create &quot;A Dream of the Red mansion&quot; with a reunion ending? On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:33, 7 November 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> 几乎与胡适同时，俞平伯先生也对高鹗的续书予以专章论述。他在1923年亚东图书馆出版的《红楼梦辨·论续书底不可能》中说：从高鹗以下，百馀年来，续《红楼梦》的人如此之多，但都是失败的……我以为凡书都不能续，不但《红楼梦》不能续；凡续书的人都失败，不但高鹗诸人失败而已。<br /> Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a chapter to the continuation of Gao E's book. He said in the &quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &quot;A Dream of the Red Mansion&quot;, but they all failed ...... I think all books can not be renewed, not only the &quot;A Dream of the Red Mansion&quot; can not be renewed; all the people who renewed the book failed, not only Gao E and others failed.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:27, 7 November 2021 (UTC)<br /> <br /> Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a comment chapter to the continuation of Gao E. He said in the &quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &quot;A Dream of the Red Mansion&quot;, but they all failed ... I think all books can not be renewed, not only the &quot;A Dream of the Red Mansion&quot; is in the case; all the people who renewed books failed, not only Gao E and others did.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:43, 8 November 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> 因此他的结论是：高鹗诸人续写的《红楼梦》都是“狗尾续貂”。俞先生“凡书都不能续”、“凡续书的人都失败”的说法未免武断，至少措辞不够严谨。事实上，成功的续书并非没有，只是不多。<br /> <br /> Therefore, his conclusion is: The continuations of &quot;The Dream of Red Mansions&quot; written by the Gao E and others are all &quot;wretched sequels to a masterpiece.&quot; Mr. Yu’s statement that “every book cannot be continued” and “everyone who renews a book fails” is a bit too arbitrary, at least the wording is not rigorous enough. In fact, successful continuations do exist, but are not substantial.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:29, 8 November 2021 (UTC)<br /> <br /> He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &quot;dog tails on a marten&quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &quot;all books cannot be renewed&quot; and &quot;all those who renew books will fail&quot; is arbitrary, or at least not carefully worded. In fact, successful continuations do exist, but are not substantial.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:35, 9 November 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> 且不说成功的学术著作不乏范例，就是小说作品的续书也有成功的。譬如清代陈忱的《水浒后传》、近代吴趼人的《新石头记》，就都是别开生面之作。不过俞先生毕竟是严肃的学者，尽管他对高鹗的续书很不满意，却对高鹗的功绩予以肯定。<br /> <br /> Not to mention that there is no shortage of examples of successful scholarly works, there are also successful sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:25, 9 November 2021 (UTC)<br /> <br /> Not to mention that there is no shortage of successful examples of scholarly works, there are also successes in sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works in new forms. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:06, 7 November 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> 他在《红楼梦辨·后四十回底批评》中说：高鹗以审慎的心思，正当的态度来续《红楼梦》；他宁可失之于拘泥，不敢失之于杜撰。其所以失败：一则因《红楼梦》本非可以续补的书，二则因高鹗与曹雪芹个性相差太远，便不自觉地相违远了。处处去追寻作者，而始终赶他不上，以致迷途；这是他失败时底光景。<br /> <br /> He said in the ''Defense of The Dream of Red Mansion: the criticism of the last forty chapters'': “GaoE continued writing The Dream of Red Mansion with his prudent intention and serious attitude; He would rather make it up than adhere to it. There are two reasons for the failure of his version. The first is that the book itself is not a book that can be continued writing. The other is GaoE’ s character is different far from Cao Xueqin’sw which naturally lead to his misconception about this book. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is his background of failure.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:11, 7 November 2021 (UTC)<br /> <br /> He said in the '' Defense of A Dream of Red Mansions: the criticism of the last forty chapters '': “Gao E continued writing '' A Dream of Red Mansions '' with his prudent intention and serious attitude; He would rather rigidly adhere to the content than fabricate some details. There are two reasons for the failure of his version. The first is that this novel itself is not the one that can be continued writing. The other is that Gao E’ s character is different far from Cao Xueqin’s which naturally lead to very distinct characteristics in this novel. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is the reason of his failure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:28, 8 November 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> 至于混四十回于八十回中，就事论事，是一种过失；就效用影响而论，是一种功德；混合而论是功多罪少。“失败了，光荣地失败了！”是我对于高鹗底赞扬和指斥。俞先生在晚年对高鹗的续书给予更多的肯定，认为高鹗的续书使残缺的《红楼梦》成为完璧，是一大功劳。 <br /> <br /> As for adding forty chapters to the original eighty chapters, sticking to the facts, it is actually a demerit. However, it can be a kind of merits and virtues in terms of utility effect. With regarding to several aspects, and his merits can more than wipe out his faults. “Failed, gloriously failed!”It's my praise and rebuke to Gao E. In the later years of Mr. Yu, he gave more recognition to Gao E’sequel, believing that Gao E’ sequel made the fragmentary ''A Dream of Red Mansions'' a complete story which was a great credit.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:25, 8 November 2021 (UTC)<br /> <br /> As for mixing the forty chapters to the original eighty chapters, actually it is a kind of negligence in terms of facts; in terms of effectiveness and influence, it is a kind of merit; in terms of mixing, it is more meritorious and less sinful. &quot;Failed, failed gloriously!&quot; I praised and reprimanded Gao E. In his later years, Mr. Yu gave more affirmation to Gao E’s sequel, and believed that Gao E’ s sequel made the incomplete ''Dream of Red Mansions'' a great achievement.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 05:16, 12 November 2021 (UTC)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> 鲁迅先生也对高鹗的续书予以肯定，只是对书末贾府的“复振”表示遗憾。他在《中国小说史略》（1923、1924年由北京大学新潮社分上下册出版，1925年由北京北新书局合为一册出版）第二十四篇中说：后四十回虽数量止初本之半，而大故迭起，破败死亡相继，与所谓“食尽鸟飞独存白地”者颇符，惟结束又复振。<br /> <br /> Lu Xun also gave a approval to the sequel of the book by Gao E, but regretted the “revitalization” part of Merchant’s mansion at the end of the book. He claimed in Chapter 24 of ''Chinese Novel Outline History''(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the latter forty chapters is only half of the original version in quantity, there are great changes, ups and downs, and dilapidated deaths one after another, which is very consistent with the so-called “eating all birds and flying alone in the white land”, but it ends and vibrates again.<br /> --[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)<br /> <br /> Lu Xun also affirmed Gao E’s sequel, and just expressed regret for the “revitalization” of Merchant Mansion at the end of the book. He claimed in chapter 24 of Chinese Novel Outline History(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the last forty chapters are only half of the original version in quantity, events occurred constantly and loss and death were in succession, which was quite consistent with the statement “birds ate and flew, then left the bleak place”. But it was a pity that the sequel ended in revitalization. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:58, 8 November 2021 (UTC)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> 以上三位权威学者对高鹗续书的评价不尽相同，但有两点共识：高鹗的后四十回逊于曹雪芹的前八十回，但他完成了曹雪芹的未竟之业，使残缺的《红楼梦》成为完璧；尤其打破了中国传统小说的“团圆迷信”，使《红楼梦》成为中国小说史上首部悲剧小说，这在中国小说发展史上是一个伟大创举。我认为三位先生的这两点共识是客观公正的，是高见卓识。<br /> <br /> The above three authoritative scholars hold various comments on Gao E’s sequel, sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering A Dream in Red Mansions perfect. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes A Dream in Red Mansions the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:23, 6 November 2021 (UTC)<br /> <br /> The above three authoritative scholars hold various comments on Gao E’s sequel, but sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering the incomplete ''A Dream in Red Mansions'' complete. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes ''A Dream in Red Mansions'' become the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 9 November 2021 (UTC)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> 晚近的某些“新红学家”尽管对高鹗大加挞伐，却无法推翻三位先生的这两点共识；最多只能进一步证明高鹗的续书比不上曹雪芹的原作，而不能抹煞高鹗续书的这两大功绩。我们可以设想，如果没有高鹗的续书，只能有两种结果：一是我们只能看到一部残缺不全的《红楼梦》，犹如只能欣赏一只断尾巴的孔雀；二是我们只能看到《红楼复梦》、《红楼圆梦》之类下三流续作，使《红楼梦》跳不出“团圆”小说的窠臼。<br /> <br /> Although some recent &quot;new Redologists&quot; criticized Gao E drastically, they could not overturn the consensus of the three gentlemen; at most, they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than erase the two achievements of Gao E's renewal. We can imagine that if we have no Gao E's sequel, there can only be two results: one is that we can only see an incomplete ''A Dream of Red Mansions'', like only enjoying a peacock with a broken tail, the other is that we can only see ''A Dream of Red Mansions Again'', ''A Dream of Red Mansions Reunion'' and other renewals that are third-classs, which makes ''A Dream of Red Mansions'' cannot jump out of the mold of &quot;reunion&quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)<br /> --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)<br /> <br /> Although some recent “new Redologists” criticized Gao E drastically, they could not overturn the two consensuses of the three gentlemen; they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than obliterate the two achievements of Gao E's continuation. We can imagine that, without Gao E's sequel, there would be only two results: one is that we could only see an incomplete ''A Dream of Red Mansions'', as if we could only appreciate a peacock with a broken tail, the other is that we can only see such third-rate sequels like ''A Dream of Red Mansions'' Again, ''A Dream of Red Mansions Reunion'', making ''A Dream of Red Mansions'' cannot jump out of the set pattern of &quot;reunion&quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> 因此，不仅我们应该感谢高鹗，如果曹雪芹地下有知，也会视高鹗为知己。胡适等三位先生论证了高鹗的两大功绩，就等于完全肯定了完整的一百二十回的《红楼梦》。但完整的《红楼梦》有两种版本，即“程甲本”和“程乙本”，两者的出版时间仅隔一年左右。<br /> <br /> Therefore, not only should we be grateful to Gao E, if Cao Xueqin was alive and knew about it, he would also regard Gao E as a confidant. Hu Shi and other three gentlemen demonstrated Gao E’s three achievements, which was equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the “Cheng A edition” and “Cheng B edition”, whose publishing interval was only about one year. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:35, 6 November 2021 (UTC)<br /> <br /> Hu Shi and other three gentlemen demonstrated gao e's two great achievements, which is equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the &quot;Cheng Jiabo edition&quot; and &quot;Cheng Yibo edition&quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> 这两种版本究竟哪一种更好呢？当然是“程乙本”，因为它是高鹗对“程甲本”精心修订的定稿本。程伟元和高鹗在“程乙本”《〈红楼梦〉引言》中说：因急欲公诸同好，故初印时不及细校，间有纰缪。今复聚集各原本，详加校阅，改订无讹。<br /> <br /> Which of these two versions is better? Of course, it is &quot;Cheng Yi&quot;, because it is gao e to &quot;Cheng Jia&quot; carefully revised final version. Cheng Weiyuan and Gao E said in &quot;Cheng Yi&quot; &quot;DREAM of Red Mansions&quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:12, 12 November 2021 (UTC)<br /> <br /> Which version is better? Of course, it is &quot;Cheng Yi&quot;, because it is gao e to &quot;Cheng Jia&quot; carefully revised final version. Cheng Weiyuan and Gao E said in &quot;Cheng Yi&quot; &quot;DREAM of Red Mansions&quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:36, 22 November 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> 惟阅者谅之。这就是说，高鹗续写后四十回并修订曹雪芹的前八十回时，“因急欲公诸同好”，未能像曹雪芹那样“批阅十载，增删五次”，而是匆促而成，在排印过程中又没有仔细校对，以致“纰缪”难免，因而立即加以修订再版，从而产生了“程乙本”。可见“程乙本”是对“程甲本”的“纰缪”加以修订的本子，自然胜于“程甲本”了。<br /> <br /> Only those who read it will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, &quot;because he was anxious to be good to the public&quot;, he failed to &quot;review for ten years, add and delete five times&quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &quot;mistakes&quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &quot;the version of Cheng Yi&quot;. It can be seen that &quot;the version of Cheng Yi&quot; is a book to revise the &quot;mistakes&quot; of &quot;the version of Cheng Jia&quot;, which is naturally better than &quot;the version of Cheng Jia&quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)<br /> <br /> Only readers will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, he was anxious to share it with the public, so he failed to review for ten years, add and delete five times as Cao Xueqin did.He hurried to finish it, not proofreading carefully in the process of typesetting, so mistakes were inevitable. Therefore, \ he immediately revised and reprinted another verison, resulting in appearing &quot;Cheng Yi (the second) Edition&quot;. It can be seen that &quot; Cheng Yi&quot; is a book to revise the &quot;mistakes&quot; of &quot;Cheng Jia (the first) Edition&quot;, which is naturally better than &quot;Cheng Jia&quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> 然而由于出版商不加细较，以为初刊本更为可靠，以致在相当一段时间内，翻印的“程甲本”曾大行其道。直到1927年，胡适先生因亚东图书馆老板汪元放先生点校并出版过“程甲本”，便将自己珍藏的“程乙本”推荐给汪先生。汪先生便将“程乙本”与“程甲本”加以仔细对勘，并加上新式标点，予以出版。<br /> <br /> However, the publisher did not go into details, and believed that the first edition was more reliable. So in a fairly long period, the translated and printed “Cheng Jia (the first) Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Cheng Yi (the second) Edition” to the owner of Yadong Library, Mr. Wang Yuanfang after he heard that Mr. Wang had punctuated, proofead and published“Cheng Jia (the first) Edition”. Then Mr. Wang checked against another between “Cheng Jia” and “Cheng Yi” , added the new punctuation and published it.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:17, 10 November 2021 (UTC) <br /> <br /> <br /> However, the publisher did not proofread carefully and believed that the first edition was more reliable. So in a fairly long period, the printed “Chengjia Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Chengyi Edition” to Mr. Wang Yuanfang who was the owner of Yadong Library because Mr. Wang once proofread and published “Chengjia Edition”. Then Mr. Wang contrasted “Chengjia Edition” with “Chengyi Edition” in detail and decided to add the new-style punctuations to the latter and publish it.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 12 November 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> 胡适先生并为该书写了《重印乾隆壬子本〈红楼梦〉序》。他在《序》文中说：现在印出的程乙本，就是那“聚集各原本，详加校阅，改订无讹”的本子，可说是高鹗、程伟元合刻的定本。这个改本有许多改订修正之处，胜于程甲本。<br /> <br /> Mr.Hushi wrote &quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions'' for this book. In the preface, he said that the newly-printed Chengyi edition which was revised carefully by referring to all kinds of original editions to make sure no incorrect information in it, was the final edition made by Gao E and Cheng Weiyuan. This edition had many corrections so it was better than the Chengjia edition. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:47, 11 November 2021 (UTC)<br /> <br /> Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &quot;''A Dream in Red Mansions''&quot;'' for this book. In this preface, he said that the current printed Chengyi edition was the final edition made by Gao E and Cheng Weiyuan which was revised carefully by gathering all kinds of original editions to make sure no incorrect information was in it. This edition had many corrections so it was much better than the Chengjia edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:58, 23 November 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> 但这个本子发行在后，程甲本已有人翻刻了；初本的一些矛盾错误仍旧留在现行各本里，虽经各家批注里指出，终没有人敢改正。胡适先生并举了三个例子，以证明“程乙本”胜于“程甲本”。由此可知，胡适先生不仅是第一个发现并公开指出“程乙本”胜于“程甲本”的人，而且推荐并贡献出了自己珍藏的“程乙本”初刊本，为“程乙本”后来的广泛流行起了决定性的作用。<br /> <br /> But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors from the original edition still remained in the current edition. Although many literary masters has pointed out these mistakes in their annotations, no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, which played a decisive role in the wide popularity of this edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 00:55, 7 November 2021 (UTC)<br /> <br /> But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors of the original edition still remained in the current edition. Although many literary masters had pointed out these mistakes in their annotations, but no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, and that played a decisive role in the wide popularity of its edition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 06:19, 7 November 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> 汪原放先生也没有辜负胡适先生的重托，不仅出版了“程乙本”，而且对两个“程本”加以仔细对勘，并用增删改动文字的统计数字与具体例子（详见下文），进一步证明了“程乙本”优于“程甲本”。由于胡适先生的学术威望和汪原放先生点校的“程乙本”面世，尤其是“程乙本”确实胜于“程甲本”，故此后书商大多舍弃了“程甲本”，竞相刊印“程乙本”，“程乙本”几乎一统天下。这种局面一直持续到上世纪五六十年代。<br /> <br /> Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &quot;Cheng Yiben&quot;, but also carefully surveyed the two &quot;Cheng Yiben&quot;, and changed the statistics and specific examples (see below for details), further proving that &quot;Cheng Yiben&quot; was better than &quot;Cheng Jiaben&quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &quot;Cheng Yiben&quot; were published, especially &quot;Cheng Yiben&quot; was indeed better than &quot;Cheng Jiaben&quot;, so most booksellers abandoned &quot;Cheng Jiaben&quot; and competed to print &quot;Cheng Yiben&quot;, &quot; Cheng Yiben &quot; almost unified the whole world. The situation has been continuing until the 1950s and 1960s.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:48, 6 November 2021 (UTC)<br /> Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &quot;Cheng Yi Ben&quot;, but also carefully surveyed the two &quot;Cheng Ben&quot;, and further proved that &quot;Cheng Yi Ben&quot; was better than &quot;Cheng Jia Ben&quot; with statistics and specific examples of adding, deleting and changing words (see below for details). Due to the academic prestige of Mr. Hu Shi and the appearance of &quot;Cheng Yi Ben&quot; ordered by Mr. Wang Yuanfang, especially &quot;Cheng Yi Ben&quot; is indeed better than &quot;Cheng Jia Ben&quot;, most booksellers abandoned &quot;Cheng Jia Ben&quot; and competed to publish &quot;Cheng Yi Ben&quot; and &quot;Cheng Yi Ben&quot; almost dominates the world. This situation lasted until the 1950s and 1960s.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:31, 7 November 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> 然而到了八十年代以后，“程乙本”一统天下的局面却被打破了，各种版本的《红楼梦》纷纷涌现，其中多为拼凑本，即前八十回采用抄本，后四十回则多采用高鹗作废了的“程甲本”，从而造成了《红楼梦》版本的混乱现象。这种混乱现象使本来已经解决了的《红楼梦》版本问题又重新出现纷争，也使普通读者陷入了不知如何选择《红楼梦》的境地。<br /> However, after the 1980s, the situation of &quot;Cheng Yi Ben&quot; dominating the world was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were piecemeal copies, that is, the transcripts of the first 80 chapters were used, and the &quot;Cheng Jia Ben&quot; cancelled by Gao e was used in the last 40 chapters, resulting in the confusion of the version of The Dream of Red Mansions. This chaotic phenomenon makes the original version of The Dream of Red Mansions once again controversial, and makes ordinary readers fall into the situation of not knowing how to choose a dream of Red Mansions.<br /> <br /> However, after the 1980s, the dominating situation of &quot;Cheng Yi version&quot;was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were cobbled together, where the first eighty editions used the codified version, while the last forty editions mostly used Gao E's cancelled Cheng Jia version, thus causing confusion in the version of a Dream of Red Mansions.This kind of confusion makes the issue of the edition of a Dream of Red Mansions reappear, and also makes ordinary readers have no idea how to choose a Dream of Red Mansions.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:27, 10 November 2021 (UTC)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> 钱锺书先生虽然不研究《红楼梦》，但对《红楼梦》版本的混乱现象却很不以为然。他在上世纪九十年代说过（大意）：《红楼梦》研究中的许多纠葛与纷争，大多源于版本问题。在同一问题上，张三根据这个版本，李四根据那个版本，公说公有理，婆说婆有理，一万年也说不清，实在无谓得很。<br /> <br /> Although Qian zhongshu never study ''The Dream of Red Mansions'', he considers that the phenomenon of mess versions does not really matter.In the 1990s, he said that (roughly meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:23, 10 November 2021 (UTC)<br /> <br /> Although Qian zhongshu never study ''The Dream of Red Mansions'', he considered disapprovingly that the phenomenon of chaos versions does not really matter.In the 1990s, he said that (a rough meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:47, 10 November 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> 这是《红楼梦》的悲剧，也是中国学界的悲剧。为了永久保存《红楼梦》这笔珍贵遗产，也为了给广大读者提供一个《红楼梦》的范本，必须从众多版本中确定一个最好的版本，而这个版本就是胡适先生推荐的“程乙本”。至于其他版本，则只供研究之用。<br /> <br /> This is not only the tragedy of The Dream of the Red Chamber , but also the tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of The Dream of the Red Chamber and provide readers with a model of The Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &quot;Cheng Yi version&quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:00, 6 November 2021 (UTC)<br /> <br /> This is not only a tragedy of Dream of the Red Chamber , but also a tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of Dream of the Red Chamber and provide readers with a model of Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &quot;Cheng Yi version&quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:15, 7 November 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> 我完全赞成以上诸位先生的看法，毋须我再费笔墨，所以我在这里只是为他们的看法提供一些实例。首先，“程乙本”的前八十回由于经过了高鹗(也许还有程伟元)的大量修订，较之诸抄本大有改观，使之更加完善。具体来说，就是对众多异文加以筛选，去除讹误，择善而从，并加以必要的补阙、修改、删节和增饰。<br /> <br /> I totally agree with the views of the above teachers, so I don't need to say more, so I will just provide some examples for their views here. First of all, the first eighty books of &quot;Cheng Yi version&quot; have been revised extensively by Gao Osprey (and perhaps Cheng Wei Yuan), which is a great improvement over the codices and makes it more perfect. Specifically, it is the screening of many different texts, the removal of errors, the selection of good, and the necessary additions, modifications, abridgments and additions.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 10:56, 7 November 2021 (UTC)<br /> <br /> I totally agree with the opinions of you all, so I don't bother to say more. So I will just provide some examples for their views here. First of all, the first eightith chapters of &quot;Cheng Yi's version&quot; have been revised for many times by Gao Osprey (and perhaps Cheng Wei Yuan), which is an improvement over the codices and makes it more perfect. Specifically, it made a selection from many different texts, corrected errors, selected the good, and offered the necessary additions, modifications, removal and polishment.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:28, 8 November 2021 (UTC)<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> 试举六例如下：例一：原作第十七、十八两回合用一套回目，第十九回没有回目。高鹗将那套合用的回目归第十七回，而为第十八、十九两回补拟了回目。例二：原作第十八回写元妃省亲回府，“只见园中香烟缭绕，花彩缤纷，处处灯光相映，时时细乐声喧，说不尽太平景象，富贵风流”，下面却接着有这样一段：此时自己回想当初在大荒山中青埂峰下，那等凄凉寂寞。<br /> <br /> Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have have any. Gao-E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.<br /> <br /> Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have any. Gao'E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:55, 14 November 2021 (UTC)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> 若不亏癞僧、跛道二人携来到此，又安能得见这般世面？本欲作一篇《灯月赋》、《省亲颂》，以志今日之事，但又恐入了别书的俗套。按此时之景，即作一赋一赞，也不能得尽其妙；即不作赋、赞，其豪华富丽，观者诸公亦可想而知矣。<br /> <br /> If the Monk and the Taoist don't bring me here, how could I can see such elephant. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. The scene of this period, we can't get its wonderful in length even we write a praise. And if we don't write, the viewer also can imagine its luxurious richly.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 10 November 2021 (UTC)<br /> <br /> If not the monk with scappy head and the lame Taoist priest bring me here, how could I can see such the world like this. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. In the scene of this period, we can't get the wonderfulness in length even we write a praise. And if we don't write, the viewer also can imagine its luxury and richness.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 02:18, 12 November 2021 (UTC)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> 所以倒是省了这工夫纸墨，且说正经的为是。本书前面已经交代得明明白白，大荒山青埂峰下的那块石头被一僧一道携入红尘后已幻化为口衔通灵宝玉的贾宝玉，而从这段话看，那块石头的化身却是贾元春，难道姐弟二人都是那块石头所化吗？如果说这段话的前大半截是写贾宝玉的心理活动，误安在了贾元春的头上，也还是说不通，因为不可能在描写贾元春省亲观感的文字当中无缘无故插入一段对贾宝玉的心理描写。<br /> <br /> Therefore the time to write them is saved, and it is time to talk something serious. It has been clearly explained in the front of this book that the stone under the Loveroot Peak of the Great Wilderness Mountain has been transformed into Precious Jade Merchant with psychic jade in his mouth after being brought into the world by a monk and a Taoist priest. From this paragraph, however, the incarnation of that stone is First Spring Merchant. Are both the sister and brother transformed by that stone? If the first half of this paragraph is about Precious Jade Merchant's psychological activities, and is mistakenly thought as First Spring Merchant's, it still doesn't make sense. Because it is impossible to insert a psychological description of Precious Jade Merchant into the words describing First Spring Merchant's feelings about relatives for no reason.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:16, 10 November 2021 (UTC)<br /> <br /> If the first half of this paragraph is about Precious Jade Merchant's psychological activities, which is mistakenly thought as First Spring Merchant's, it still doesn't make sense. <br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> 尤为荒唐的是，从“观者诸公”以下文字，又突然变为作者的第三人称口气，更令人丈二金刚，摸不着头脑。如此语无伦次的拙劣文字，决非曹雪芹的原文，而是抄书者的误抄或窜文。“程乙本”将其全部删除，犹如割除了一个赘瘤，使行文变得合理而又通畅。<br /> <br /> What is particularly absurd is that, from the following words &quot;all the audience&quot;, and suddenly into the third person tone of the author,which is even more puzzling. Such incoherent poor text, not Cao Xueqin's original text, but the copy of the wrong copy or channelized text. &quot;Cheng Yi version&quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:58, 7 November 2021 (UTC)<br /> <br /> Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &quot;Cheng Yi version&quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:50, 29 December 2021 (UTC)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> 例三：原作第二十二回写荣国府作灯谜游戏，目的在于通过各人制作的灯谜，以暗示各自的性情、志向及将来结局，是全书的重要段落。大约因曹雪芹当时没有完全想好，故只写了贾母、贾政、元春、迎春、探春、惜春、宝钗的灯谜，而将宝玉、黛玉、湘云的灯谜暂缺，留待以后补写，不料曹雪芹突然去世，未及补写，致使原稿残缺。高鹗大胆地将原作宝钗的灯谜移作黛玉的灯谜，又增写了宝钗和宝玉的灯谜，我以为移得合理，增作也很精彩。<br /> <br /> Example 3: the 22nd episode of the original work is that everyone plays lantern riddles in the Jung-guo-Anwesen ，The purpose is to hint their temperament, aspirations and future outcome through the lantern riddles made by each person，It is an important paragraph of the whole book. It may be that Cao Xueqin Autor didn't think well at that time, so he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn't write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin Autor died suddenly and didn't have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:31, 12 November 2021 (UTC)<br /> <br /> Example 3: the 22nd chapter of the original work is that everyone plays lantern riddles in the Rong Mansion, The purpose is to hint their temperament, aspirations and future respectively through the lantern riddles made by each person，It is an important plot of the whole work. <br /> Possibly because Cao Xueqin did not think well at that time, he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn’t write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin died suddenly and didn’t have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:58, 13 November 2021 (UTC)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> 但高鹗也有失误和疏漏：失误在于删掉或漏掉了原作惜春的灯谜，疏漏在于未给湘云补写灯谜。惜春的灯谜我已补入第二十二回（参见该回原文及其注释），以弥补高鹗的失误；而湘云的灯谜却只好仍阙，成为永远的遗憾。例四：原作第二十五回在写王熙凤被魇魔法弄得精神错乱时，插入一段对薛蟠的描写：别人慌张自不必讲，独有薛蟠更比诸人忙到十分：又恐薛姨妈被人挤倒，又恐薛宝钗被人瞧见，又恐香菱被人臊皮──知道贾珍等是在女人身上做功夫的，因此忙的不堪。<br /> <br /> However, Gao E also made some mistakes and omissions: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I have added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But the lantern riddles of Fragrant-cloud History have yet to be unfilled, which becomes a permanent regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:43, 13 November 2021 (UTC)<br /> <br /> <br /> However, Gao E also made a mistake and had an oversight: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I already added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But Fragrant-cloud History’s lantern riddles have yet to be unfilled, which becomes an eternal regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 14:51, 13 November 2021 (UTC)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> 忽一眼瞥见了林黛玉风流婉转，已酥倒在那里。这段话十分荒谬：其一，贾、薛两家为近亲，贾珍与薛宝钗是表兄妹，贾珍怎么敢对表妹起歹心呢？薛蟠岂非杞人忧天？其二，薛蟠虽然混账，与林黛玉也是表兄妹，况且见面的机会很多，薛蟠怎么会“一眼瞥见了林黛玉”就“酥倒在那里”呢？<br /> <br /> <br /> Dragon Marshgrass's eye suddenly falling on Mascara Jade Forest, he was so enchanted by her charms that he almost melted on the spot. This paragraph is very absurd: First, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass entertained imaginary and groundless fear? Second, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass“almost melted on the spot when his eye suddenly fell on Mascara Jade Forest”? --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:44, 12 November 2021 (UTC)<br /> <br /> Dragon Marshgrass suddenly caught a glimpse of Mascara Jade Forest, who was pretty and gentle, and collapsed there. This paragraph is very absurd: Firstly, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin? Isn't Dragon Marshgrass alarmist? Secondly, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass “collapsed there because of a glimpse of Mascara Jade Forest”?--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:15, 14 November 2021 (UTC)<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> 而脂批竟称赞道：“忙中写闲，真大手眼、大手笔。”这如果不是偶然失误，便只能说是不识好歹了。“程乙本”将其删除，倒可当得起“大手眼、大手笔”的评语。例五：原作第六十三回中用了一千多字的篇幅，大写贾宝玉、史湘云等人只是为了好玩，如何将芳官、葵官打扮成“小土番儿”，如何改称“犬戎名姓”。<br /> <br /> However, the Zhi Yanzhai's critiques unexpectedly praised: &quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &quot;Cheng Yi version&quot; deletes it, it can be regarded as a comment of &quot;big eyes and a big deal&quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to capitalize the name of Precious Jade Merchant, Fragrant-cloud History and others, which is just for fun, and to describe how to dress Fragrant Official and Sunflower as &quot;Xiao Tu Fan er&quot; and how to change &quot;the surname and name of Quan Rong&quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)<br /> <br /> However, critiques of Zhi Yanzhai(one of the earliest critics of &quot;A Dream in Red Mansions&quot; ) unexpectedly praised: &quot;Snatch a little leisure from a busy writing , which is really weighty.&quot; If it is not an accidental mistake, it can only be said to be ungrateful. &quot;Cheng Yi version&quot; deletes it, thus it can be regarded as the comment of &quot;weighty writings&quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to describe that how Precious Jade Merchant, Fragrant-cloud History and others dress Fang Guan and Kui Guan as &quot;Xiao Tu Fan er&quot; and how they change &quot;the name of Quan Rong&quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> 而且竟然让贾宝玉说出这样的话来：如今四海宾服，八方宁静，千载百载，不用武备。咱们虽一戏一笑，也该称颂，方不负坐享升平了。这种描写既十分无聊，又与贾宝玉的性格背道而驰，尤其侮辱了包括满族在内的少数民族，真可谓拙劣的文字，因此“程乙本”完全予以删除是绝对必要的。<br /> <br /> What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&quot;Nowadays, people within Four Seas were all submitted and social stability was achieved in all directions. Weapons were not needed in nearly thousands of years. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&quot; This kind of descriptions were very boring and ran counter to the characteristics of Jia Baoyu, and they particularly insulted national minorities including Manchu, which were really bad writings. Thus, it's quite necessary for &quot;Cheng Yi's version&quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)<br /> <br /> What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&quot;Nowadays, people from all over the world bow to our emperor, and social stability's greatly achieved. No military preparation's needed in the days ahead. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&quot; Such descriptions are boring and against Baoyu's characteristic, and also insulted national minorities including Manchu, which are truly awful writings. Thus, it's quite necessary for Cheng&amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> 例六：原作第六十一回开头有一段写柳家的与小厮斗嘴的文字，既毫无意义，又有“几根×毛”、“×声浪嗓”的粗话，故“程乙本”删掉了百馀字也完全正确。像这样的例子不胜枚举，它们足可以证明，高鹗对前八十回的修订是完全必要和合理的，“程乙本”前八十回优于原作的事实是任何人也难以抹煞的。其次，再就两种“程本”而言，由于“程乙本”是“程甲本”的修订本，自然也就更加完善。<br /> <br /> Example six: The descriptive words about the argument between Liu's and his servant in the chapter sixty one of the original version are quite meaningless, and vulgarism like &quot;some x hairs&quot;,&quot;some nasty voices&quot; are also included at the same time，that's why the Cheng&amp;Gao's second version had correctly deleted hundreds of words of the original one. Such examples are numerous and are solid proofs to the necessity and justifiability of Gao E's revision of original former eighty chapters, and it's also undeniable that former eighty chapters in the Cheng&amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;Gao's, the second version is obviously more perfect for it's revised on the base of the first one.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:33, 12 November 2021 (UTC)<br /> <br /> <br /> Example six: the original 61st back at the beginning of a paragraph to write the fighting words by Liu and his following boy, not only meaningless, but also &quot;a few pubic hair&quot;, &quot;obscene voice&quot; of foul language, so &quot;Cheng B book &quot;deleted a few hundred words is also completely correct. Such examples are numerous, and they are sufficient to prove that the revision of the first eighty chapters by Gao Hu is completely necessary and reasonable, and the fact that the first eighty chapters of &quot;Cheng B book&quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &quot;Cheng books&quot;, since the &quot;Cheng B book&quot; is a revised version of the &quot;Cheng A book&quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> 关于这一点，最有力的证据是一组现成的统计数字。前面说过，汪原放先生于1927年曾将“程乙本”与“程甲本”加以对勘，并将两者的异文作了统计，其结果是：“程乙本”较之“程甲本”改动(包括增与改)了总共21506字，其中前八十回改动15537字，后四十回改动5969字。(见汪原放《重印乾隆壬子本〈红楼梦〉校读后记》)这些改动主要有三个方面：其一，是对“程甲本”中的“纰缪”文字加以改正。<br /> <br /> About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &quot;Cheng B book&quot; with the &quot;Cheng A book&quot; and made statistics on the differences between the two texts, and the result was: &quot;Cheng B book&quot; compared with &quot;Cheng A book&quot; changes (including increase and change) a total of 21506 words, including the first eighty chapters changed 15537 words, the last forty chapters changed 5969 words. (See Wang Yuanfang &quot;reprinted Qianlong nonzi book&quot; after reading &quot;Dream of the Red Chamber&quot;) These changes are mainly in three aspects: one, is the &quot;Cheng A book&quot; in the &quot;error&quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan<br /> <br /> The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &quot;Cheng B book&quot; with the &quot;Cheng A book&quot; and made statistics on the differences between the two texts, and the result was: a total of 21506 words (including complements and modifications) were changed in &quot;Cheng B book&quot; compared with &quot;Cheng A book&quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &quot;reprinted Qianlong nonzi book&quot; after reading &quot;Dream of the Red Chamber&quot;) These changes are mainly in three aspects: one, is the modification of the &quot;error&quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> 如第二回“冷子兴演说荣国府”中，“程甲本”对原作的如下一段文字未作改动：这政老爷的夫人王氏……第二胎生了一位小姐，生在大年初一，就奇了。不想次年又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。这位“小姐”就是贾元春(元妃)，这位“公子”就是贾宝玉。<br /> <br /> For example, the &quot;Leng Zixing's speech in Rong Mansion&quot; in chapter 2, &quot;Cheng Jia's translation version&quot; did not change the following text of the original work: The wife of Lord Zheng Mrs Wang…… gave birth to a girl on the first day of the lunar year,which was magical enough. It was even more magical that she gave birth to a boy in the next year: he was born with a colorful and crystal jade in his mouth, and the jade was written by some scripts. The &quot;girl&quot; is First Spring Merchant (Yuan Concubine), while the &quot;boy&quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)<br /> <br /> <br /> For example, in the &quot;Son Happy Cold's speech in Glory Mansion&quot; from chapter 2, the following text of the original work remained intact in &quot;Cheng Jia(the first)edition&quot;: Lady King, the wife of Master Merchant …… gave birth to her second child, a girl, on the first day of the lunar year, which was magical enough. It was even more magical that she gave birth to a boy in the following year: when he was born, a colorful and crystal jade with many scripts on it was in his mouth. The &quot;girl&quot; is First Spring Merchant (Yuan Concubine), while the &quot;boy&quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> 而这段文字显然与第十八回中的一段文字相矛盾：那宝玉未入学之先，三四岁时，已得元妃口传，教授了几本书，识了数千字在腹中：虽为姊弟，有如母子。<br /> “有如母子”的贾元春和贾宝玉，不可能只差一岁，可见第二回那段文字有明显的“纰缪”。“程乙本”将“次年”改为“隔了十几年”，便合情合理了。<br /> <br /> This paragraph obviously contradicts with the description in the eighteenth chapter: before Precious Jade,at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had known thousands of words in his mind. They are sister and brother in blood relation, but more like mother and son. Precious Jade Merchant and First Spring Merchant, &quot;like mother and son&quot;,could not be only one year apart,so there is an obvious &quot;mistake&quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &quot;the following year&quot; into &quot;more than a decade after&quot; in &quot;Cheng Yi(the second) Edition&quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)<br /> <br /> While this paragraph obviously contradicts with one in the eighteenth chapter: before Precious Jade, at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had learned thousands of words in his mind. They are elder sister and younger brother, but more like mother and son. Precious Jade Merchant and First Spring Merchant could not be only one year apart,so there is an obvious &quot;mistake&quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &quot;the following year&quot; into &quot;more than a decade after&quot; in &quot;Cheng Yi(the second) Edition&quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> 其二，是将文言词语尽量改为白话或俗语，从而使《红楼梦》的语言更为通俗易懂。譬如：“若”改为“要”，“与”改为“给”，“亦”改为“也”，“此”改为“这”，“口”改为“嘴”，“何”改为“为什么”，“如何”改为“怎么”，“如此”改为“这么着”，“葳蕤”改为“委琐”，等等。其三，是增加了许多“儿”字，将词语加以“儿”化，从而使《红楼梦》语言的京味特点更加突出。<br /> <br /> Secondly, classical words were changed into vernacular or colloquial language as far as possible so as to make the language of A Dream of Red Mansions more understandable. For instance: &quot;ruo&quot; was translated into &quot;yao&quot;(if), &quot;yu&quot; into &quot;yao&quot;(to), &quot;yi&quot; into &quot;ye&quot;(also), &quot;ci&quot; into &quot;zhe&quot;(this), &quot;kou&quot; into &quot;zui&quot;(mouth),&quot;he&quot; into &quot;wei shen me&quot;(why), &quot;ru he&quot; into &quot;zen me&quot;(how), &quot;ru ci&quot; into &quot;zhe me zhao&quot;(in this way), &quot;weisui&quot; into &quot;weisuo&quot;(obscene) and so on. Thirdly, lots of &quot;er&quot; were added into A Dream of Red Mansions, so that the Beijing flavor of the language in A Dream of Red Mansions is more distinct.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:08, 10 November 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> 关于这一点，几乎随处可见，因而不再举例。《红楼梦》是一部近百万字的巨著，要想完全揭示“程乙本”的版本优点，只能将它与其他版本一一对勘，并将异文一一列出。单凭以上的简单说明，只能是挂一漏万。<br /> <br /> This point can be seen almost everywhere, so I will not give examples. “Dream of the Red Chamber” is a masterpiece of nearly one million words. If we want to fully reveal the merits of &quot;Cheng Yi's translation version&quot;, we can only investigate it with other translation versions and list the differences one by one. The above simple explanation is still incomplete and full of omissions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 07:24, 10 November 2021 (UTC)<br /> This point can be seen almost everywhere, so I don't want to give an example.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:25, 12 November 2021 (UTC)<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> 不过我可以向读者负责地保证：如果你是出于欣赏的目的阅读《红楼梦》，那么选择“程乙本”将是最明智的。三、校勘问题 我们说“程乙本”为《红楼梦》的最佳版本，并不是说它完美无缺，也不是说其他版本一概不如“程乙本”，只是说它在总体上更胜一筹而已。<br /> But I can responsibly assure readers that if you are reading a Dream of Red Mansions for enjoyment, cheng Yiben is the wisest choice. To say that Cheng Yiben is the best version of a Dream of Red Mansions does not mean that it is perfect, nor that all other versions are inferior to Cheng Yiben, but that it is superior in general.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:23, 12 November 2021 (UTC)<br /> <br /> But I can responsibly assure readers that if you are reading ''A Dream of Red Mansions'' for enjoyment, Cheng Yi version is the wisest choice. Three: Revision. To say that Cheng Yi version is the best version of ''A Dream of Red Mansions'' does not mean that it is perfect, nor that all other versions are inferior to Cheng Yi version, but that it is superior in general.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:42, 16 November 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> 事实上，或因高鹗和程伟元的疏忽，或因排字工人的失误，致使“程乙本”仍存在不少“纰缪”。譬如：第八十六回说贾元春生于“甲申年正月丙寅”；至第九十五回则说：“是年甲寅年十二月十八日立春，元妃薨日是十二月十九日，已交卯年寅月，存年四十三岁。”“程甲本”和“程乙本”都是如此。<br /> <br /> In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &quot;mistakes&quot; in &quot;Chengyi version&quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &quot;Bingyin, the first month of the year Jiashen&quot;. To the 95th chapter it expounds that &quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day consort Yuan died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&quot;, which are the same both in &quot;Chengjia version&quot; and &quot;Chengyi version&quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)<br /> <br /> In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &quot;mistakes&quot; in &quot;Chengyi version&quot;. For example, the eighty-sixth chapter expounds that First Spring Merchant was born in &quot;Bingyin, the first month of the year Jiashen&quot;. To the 95th chapter it expounds that &quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day Princess Merchant died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&quot;, which are the same both in &quot;Chengjia version&quot; and &quot;Chengyi version&quot;.<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> 而实际上前后存在明显矛盾：甲申年至甲寅年是三十年，按照当时以虚岁计算年龄的习惯，元妃享年应是三十一岁；即使因元妃薨于立春次日，算作乙卯年，也只有三十二岁。无论如何也不会是四十三岁。可见“程甲本”已错，而“程乙本”也没有订正。<br /> <br /> In fact,there is clear contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Merchant would have been thirty-one years old; even if the death of Princess Merchant took place on the day after the first day of spring, which is counted as the year yi Mao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &quot;Cheng Jia version&quot; is wrong, and the &quot;Cheng Yi version&quot; has not been revised.<br /> <br /> In fact,there is an obvious contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Yuan would have been thirty-one years old; even if the death of Princess Yuan took place on the day after the first day of spring, which is counted as the year YiMao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &quot;Cheng Jia version&quot; is wrong, and the &quot;Cheng Yi version&quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> 这个明显的失误，早在1927年由汪原放校点、亚东图书馆出版的“程乙本”《红楼梦》已经改正，而上世纪八十年代以后出版的诸多号称经过了“精校”的“程甲本”和“程乙本”《红楼梦》，包括那些拼凑本，却依旧保留了这个失误，这不能不说是一种讽刺。其实“程乙本”的其他文字失误还有不少，并非像高鹗、程伟元所说“改订无讹”。“程乙本”既非十全十美，而我们要供献于读者的是一部普及本的《红楼梦》，因此有必要汲取其他版本的长处，使其尽量完美。<br /> <br /> This obvious mistake was corrected in “Cheng Yi Version&quot; （a version of &quot;A Dream of Red Mansions&quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927. It is ironic that many &quot;Cheng Jia Version&quot; and &quot;Cheng Yi Version&quot; published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &quot;Cheng Yi Version&quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &quot;Cheng Yi Version&quot; is not perfect, and what we want to offer to readers is a popular version of “A Dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:22, 7 November 2021 (UTC)<br /> <br /> This obvious mistake was corrected in “Cheng Yiben&quot; （a version of &quot;a dream of Red Mansions&quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927. It is ironic that many &quot;Cheng Jiaben&quot; and &quot;Cheng Yiben&quot;, which claimed carefully checked and published after the 1980s , including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &quot;Cheng Yiben&quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &quot;Cheng Yiben&quot; is not perfect, and what we want to offer to readers is a widespread version of “a dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 8 November 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> 为此，本书以“程乙本”(北京图书馆出版社影印本)为底本，以“程甲本”(北京图书馆出版社影印本)为主校本，并以下列版本为参校本：汪原放校勘“程乙本”(上海亚东图书馆刊本)、王希廉(雪香)评“程甲本”(清道光十二年刊本)、“梦稿本”“庚辰本”“己卯本”“甲戌本”(后四种均为上海古籍出版社影印本)。在以上八种版本中，前五种均为一百二十回全本，后三种均为前八十回的残存本。<br /> <br /> For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as master copy, “Cheng Jiaben” as main collated edition, and the followings as references—Wang Yuanfang’s collation “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s “Cheng Jiaben” commentary(edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:43, 8 November 2021 (UTC)<br /> <br /> For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as the master copy, “Cheng Jiaben” as the main collated edition, and the followings as references—Wang Yuanfang’s collation of “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s comments on “Cheng Jiaben” (edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:57, 8 November 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> 我的校勘总原则是：既要尽量保持底本的原貌，又要保证全书的质量。具体来说则遵循以下几条：（一）底本与校本之间虽有异文，但底本基本可通者，即使校本文字更好，也不作改动。（二）底本中的各种错误(包括内容与文字的错误)、文字倒置、文理不通等，尽量用校本改正，若校本同样错误则径改。<br /> <br /> My primary principle of collation is that: maintain the original meaning of master copy, and garantee the quality through the book. Specifically, abiding by the following advice: One, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth remains untouched, even though the checked copy is better. Two: various mistakes in master copy（including errors in contents and text），the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, then it should be corrected directly.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 12:43, 7 November 2021 (UTC)<br /> <br /> My primary principle of collation is that: maintain the original meaning of master copy, and guarantee the book’s quality. To be more specific, following these advices: First, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth should be untouched, even though the checked copy is better. Second: various mistakes in master copy（including errors in contents and text), like the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, it should be corrected directly.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 06:46, 8 November 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> （三）底本和校本中的僻字、怪字、俗字，本来并无特别意义，毫无保留价值，只能为读者增加阅读障碍，因此径改为通用字。如“揌”和“”改为“塞”，“嘴”改为“努嘴”，“椅子”改为“拿椅子”，等等。（四）古人对别字多不在乎，故底本和校本中屡见不鲜，但在当今的读者看来却十分别扭，甚至可能被误解，因而酌情径改。<br /> <br /> Three, the rare words, strange words, common words in the master copy and in the checked copy had no special meaning, and no reservation value, can only increase the reading barrier for readers. So they need to be changed to universal words. Such as &quot;揌&quot; changed to “塞&quot;, &quot;嘴&quot; changed to &quot;努嘴&quot;, &quot;椅子&quot; changed to &quot;拿椅子&quot;, etc. Four, the ancients didn’t care about the wrongly written characters, so it is common in the master copy and the checked copy. They seem very awkward for today's readers and may even be misunderstood. Therefore they should be appropriately modified.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 14:12, 6 November 2021 (UTC)<br /> <br /> （3）Some characters in a copy for the record or for reproduction and in checked copy, which are not commonly used, or look strange, or are popular but irregular, have no special significance and no reserved value, only increasing the reading barrier for readers. Therefore, these characters are changed to universal characters. For example, &quot;揌&quot; are changed to &quot;塞&quot;, &quot;嘴&quot; is changed to &quot;努嘴&quot;, &quot;椅子&quot; is changed to &quot;拿椅子&quot; and so on.（4） The ancients didn't care much about the wrongly written characters, so they can be commonly seen in a copy for the record or for reproduction and in checked copy. However, when seeing these characters, today’s readers may feel awkward, and may even misunderstand their meanings. Thus they are supposed to be changed for appropriateness.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 7 November 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> 如“必真”改为“逼真”，“奈烦”改为“耐烦”，“悔气”改为“晦气”，“渥”改为“焐”，“握”改为“捂”，等等。（五）有些字在古代汉语中可以通用（借用），在现代汉语中却严加区分。《红楼梦》也存在大量借用字，如果一一加以改动，不一定合适。<br /> <br /> <br /> For example, &quot;必真&quot; is changed to &quot;逼真&quot;, &quot;奈烦&quot; is changed to &quot;耐烦&quot;, &quot;悔气&quot; is changed to &quot;晦气&quot;, &quot;渥&quot; is changed to &quot;握 &quot;, &quot;焐&quot; is changed to &quot;捂&quot; and so on. Some words can be commonly used (borrowed) in ancient Chinese, While in modern Chinese they are strictly distinguished. There are also a large number of loanwords in the A Dream of Red Mansions, which may not be appropriate if changed one by one.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 6 November 2021 (UTC)<br /> <br /> For instance, &quot;必真&quot; is changed to &quot;逼真&quot;, &quot;奈烦&quot; is changed to &quot;耐烦&quot;, &quot;悔气&quot; is changed to &quot;晦气&quot;,&quot;渥&quot; is changed to &quot;握 &quot;, &quot;焐&quot; is changed to &quot;捂&quot;, etc. Wait. Some characters can be used (borrowed) in ancient Chinese, but they are strictly distinguished in modern Chinese. There are also a lot of borrowed words in &quot;A Dream of Red Mansions&quot;. If you change them one by one, it may not be appropriate.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:44, 10 November 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> 因此只有在以下两种情况之下才作改动：一是可能引起误解；二是同一词语而用字不同。如等同于数字“一”的“么”，极易与“什么”、“怎么”的“么”相混，故改为“幺”。又如表示时间的“一会”和“一回”混用，“一会儿”和“一回儿”混用，统一为“一会”和“一会儿”；表示位置的“旁”和“傍”混用，“旁边”和“傍边”混用，统一为“旁”和“旁边”；“赔礼”和“陪礼”混用，“赔罪”和“陪罪”混用，统一为“赔礼”和“赔罪”；等等。<br /> <br /> Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase but different words. For example, the &quot;么&quot; equivalent to the number &quot;一&quot; is easily confused with the &quot;么&quot; of &quot;什么&quot; and &quot;怎么&quot;, so it is changed to &quot;幺&quot;. Another example is the mixed use of &quot;一会&quot; and &quot;一回&quot; for time, and &quot;一会儿&quot; and &quot;一回儿&quot; are mixed together, unified into &quot;一会&quot; and &quot;一会儿&quot;;&quot;旁&quot; and &quot;傍&quot; to indicate position are mixed together, &quot;旁边&quot; and &quot;傍边&quot; are mixed together, unified into &quot;旁&quot; and &quot;旁边&quot;; &quot;赔礼&quot; and &quot;陪礼&quot; are mixed together, and &quot;赔罪&quot; and &quot;陪罪&quot; are mixed together , Unified into &quot;赔礼&quot; and &quot;赔罪&quot;; and so on.<br /> <br /> Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase formed by different words. For example, the &quot;么&quot; equivalent to the number &quot;一&quot; is easily confused with the &quot;么&quot; of &quot;什么&quot; and &quot;怎么&quot;, so it is changed to &quot;幺&quot;. Another example is the mixed use of &quot;一会&quot; and &quot;一回&quot; for time, and in case that &quot;一会儿&quot; and &quot;一回儿&quot; are mixed together, they are unified into &quot;一会&quot; and &quot;一会儿&quot;respectively ;&quot;旁&quot; and &quot;傍&quot; to indicating position are mixed together,and &quot;旁边&quot; and &quot;傍边&quot; are mixed together, so they are unified into &quot;旁&quot; and &quot;旁边&quot;; &quot;赔礼&quot; and &quot;陪礼&quot; are mixed together, and &quot;赔罪&quot; and &quot;陪罪&quot; are mixed together , so they are unified into &quot;赔礼&quot; and &quot;赔罪&quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> （六）本书采用简化汉字，为异体字的处理提供了方便，故一律按照简化汉字的规定处理。任何语言都在不断发展变化，故古今汉语有很大不同，以至于定字工作成为古籍整理中最为复杂的问题之一，很难做到尽善尽美。仅根据以上几条，只能是有助于减少读者的阅读障碍罢了。<br /> <br /> (Six) Simplified Chinese characters are used in this book to provide convenience for the processing of variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so ancient and modern Chinese is very different. Therefore, deciding which word to use has become one of the most complex problems in the collection of ancient books, which is difficult to be perfect. Just according to the above, it can only help reduce the difficulties in their reading.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 13:59, 8 November 2021 (UTC)<br /> <br /> Simplified Chinese characters are used in this book to provide convenience for the processing of the variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so great differences exist between ancient and modern Chinese. Therefore, deciding which word to use has become one of the most complex issues in the collection of ancient books, which is difficult to be perfect.According to the above, it can only help reduce the difficulties in readers' reading.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:23, 30 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> 为了节省篇幅，一律不出校文。四、注释问题 “注释”亦称“注解”，最初是由于经书文字艰涩难懂，故对经书的字句加以解释；如果注文仍旧难懂或未尽其义，再对注文加以解释，则称“疏”。注文和疏文合称则谓之“注疏”。<br /> <br /> In order to save space, no proofread article will be published. Fourth,issues &quot;explanatory note&quot; is also called &quot;annotation&quot;. At first, it explained the words and sentences of the Scriptures because the texts of the scriptures were difficult to understand; if the annotations were still difficult to understand or did not fully understand the meaning, then the annotations will be explained, it was called &quot; sparse&quot;. The combination of Zhuwen and Shuwen is called &quot;Notes and Shu&quot;. <br /> <br /> <br /> In order to save space, no proofreading will be published. 4、 Annotation question &quot;Annotation&quot; is also called &quot;Annotation&quot;.At first, the words in the Scriptures were difficult to understand,therefore, explain the words and sentences in the scriptures; If the annotation is still difficult to understand or does not fulfill its meaning, and then explain the annotation, it is called &quot;sparse&quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==<br /> 后来逐步扩大范围，对一切文献中的疑难字句加以解释，均称之为“注释”。由于中国历史悠久，古今汉语及名物变化巨大，致使后人读古籍的困难越来越大，因此对古籍的注释也就显得越来越有必要。《红楼梦》虽是一部旧白话小说，但它汲取了诗、词、曲、赋、歌、诔等各种精华，又涉及谜语、酒令、建筑、服饰、珍禽异兽、奇花异卉、神话传说、名人秀女、琴棋书画、医卜星相、风俗礼仪等多种知识，白话文言间用，成语典故成堆。<br /> <br /> Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &quot;notes&quot;. Due to China's long history and great changes in ancient and modern Chinese ,which makes it more and more difficult for future generations to read ancient books. Therefore, it is more and more necessary to annotate ancient books. Although 《The Dream of Red Mansion》 is an old vernacular novel,but it has absorbed all kinds of essences such as poetry, CI, Qu, Fu, song, and so on.It also involves riddles, wine orders, architecture, clothing, rare birds and animals, exotic flowers<br /> Myths and Myths and legends, celebrities and beauties, Qin, chess, calligraphy and painting, medical divination of stars, customs and etiquette and other knowledge are used between vernacular and Idioms and allusions pile up.<br /> <br /> ==Nadia 202011080004==<br /> 对于一般读者来说，所有这些都可能是阅读中的绊脚石。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> 本注释的使命就是为读者清除这些绊脚石，使阅读畅通无阻。<br /> <br /> This annotation is meant to remove the barriers in reading and make it easier to read.<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> 因此凡是我认为可能影响读者阅读的地方，便予以注释，决不假装视而不见，决不避难就易。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> 为了节省篇幅，我仅举一例。第五十六回“敏探春兴利除宿弊，贤宝钗小惠全大体”中，有贾探春与薛宝钗谈论经济的一段话：<br /> In order to save space, I will give just one example. In the fifty-sixth chapter, &quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:<br /> <br /> ==Muhammad Numan 202121080002==<br /> 宝钗笑道：“真真膏粱纨袴之谈。你们虽是千金，原不知道这些事。<br /> Baochai smiled and said: &quot;It's really tempting to talk about it. Although you--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:09, 6 November 2021 (UTC) are a daughter, you don't know these things.<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> 但只你们也都念过书，识过字的，竟没看见过朱夫子有一篇《不自弃文》么？”<br /> But if you have all studied and read, haven't you seen Master Zhu's article &quot;Don't Abandon Oneself&quot;?<br /> <br /> ==Jawad Ahmad 202121080006==<br /> 探春笑道：“虽也看过，不过是勉人自励，虚比浮词，那里真是有的？”<br /> Tanchun said and smile, &quot;Although I have seen it, it's just a matter of encouraging others to encourage themselves. It's a meaningless word. Is there really something happen?&quot;<br /> <br /> ==Nizam Uddin 202121080007==<br /> 宝钗道：“朱子都行了虚比浮词了？那句句都是有的。<br /> <br /> ==Öncü 202121080008==<br /> 你才办了两天事，就利欲熏心，把朱子都看虚浮了。<br /> You have been working on it for two days only, and blinded by greed, you have made ZhuZi look vain.--[[User:HIKMET ONCU KADIOGLU|HIKMET ONCU KADIOGLU]] ([[User talk:HIKMET ONCU KADIOGLU|talk]]) 16:52, 6 November 2021 (UTC)<br /> <br /> You have only been doing things for two days, then you desire for money and profit fascinated the heart, and you think Zhu Zi is Unrealistic. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:29, 8 November 2021 (UTC)Akira Jantarat<br /> <br /> ==Akira Jantarat 202121080009==<br /> 你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”<br /> <br /> If you go to a larger world and see greater benefits or disadvantages, I am afraid you will be a little bit down on what Kongzi said.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 14:19, 6 November 2021 (UTC)Akira<br /> <br /> If you go out again and see the pros and cons of major events, you will be even more deceptive!--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:50, 7 November 2021 (UTC)<br /> <br /> ==Asep Budiman 202111080020==<br /> 探春笑道：“你这样一个通人，竟没看见《姬子》书？<br /> <br /> Tan-tschun Smiled and said &quot;you are such a familiar person, but have you read the &quot;Ji Zi&quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)<br /> <br /> Tan-tschun smiled and said: &quot;You are such a familiar person, but haven't you read the book &quot;Ji Zi&quot;? --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> 当日《姬子》有云：‘登利禄之场，处运筹之界者，穷尧舜之词，背孔孟之道。’”<br /> <br /> On that day, &quot;Jizi&quot; said: ‘The field of Deng Lilu, those who are in the realm of management, are poor in the words of Yao and Shun, and recite the way of Confucius and Mencius. ’&quot;<br /> --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW<br /> -EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)<br /> <br /> There was a saying in ''Himeko'' that day: &quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> 宝钗笑道：“底下三句呢？”探春笑道：“如今断章取义，念出底下一句，我自己骂我自己不成？”<br /> <br /> Bau-tschai smiled: &quot;What about the next three sentences?&quot; Tan-tschun smiled: &quot;Now that I have read the next sentence out of context, can I blame myself for failing?&quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)<br /> <br /> Translation: Bau-tschai smiled: &quot;What about the next three sentences?&quot; Tan-tschun smiled: &quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> 在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。<br /> <br /> Translation: In this passage, Zhu Xi's &quot;don't abandoned the text--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)&quot; and the book &quot;Ji Zi&quot; are mentioned.<br /> <br /> ==Zohaib Chand 202121080005==<br /> 我所看到的几个《红楼梦》注本，对《不自弃文》有所注释，而对《姬子》却避而不注。<br /> <br /> <br /> I have read different annotations of ''A Dream in Red Mansions'', in which there are some explaination to ''No Self-surrender'' while no notes to ''Jizi''.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:21, 30 December 2021 (UTC)</div>

Wu Yinghong https://bou.de/u/index.php?title=20211229_homework&diff=134657 2021-12-29T08:24:26Z

<p>Wu Yinghong: /* 吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529 */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。<br /> <br /> The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&quot;I heard that a saint has seven hole in his heart.&quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)<br /> <br /> The heart is one more hole than Bigan. Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &quot;I heard that the heart of Bigan.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​<br /> <br /> 病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.​<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​<br /> Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​<br /> Therefore, Mascara Jade Forest is described as weak and beautiful by &quot;sick as Xizi wins three points&quot;. Next, Precious Jade Merchant wrote &quot;Pingping&quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​<br /> <br /> “花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：<br /> <br /> Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &quot;Jiuda&quot;. Later, the big families followed the suit. ​<br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Village Residence Book Xi&quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini<br /> <br /> Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.<br /> <br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Book of Happiness Living in Village&quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> “红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”<br /> <br /> Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 指子女早晨向父母请安问候的礼节。​<br /> <br /> 第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案<br /> <br /> It refers to the politeness children greet their parents in the morning.<br /> <br /> The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。<br /> <br /> Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)<br /> <br /> Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；<br /> <br /> When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。<br /> <br /> <br /> She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。<br /> <br /> But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)<br /> <br /> But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”<br /> <br /> I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&quot; &quot;This is a scandal!&quot; fumed Rainvillage Merchant. &quot;How can men commit a murder and go without punishment?&quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang<br /> <br /> He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”<br /> He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)<br /> <br /> He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。<br /> <br /> Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)<br /> <br /> Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。<br /> <br /> It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)<br /> <br /> The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。<br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &quot;Friendships,&quot; Yue-ts'un remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the passport just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &quot; Yu-tsun was confused and thus continued, &quot;guard officer?&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the warrant just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &quot; Yu-tsun was confused and thus continued, &quot;What's the protection charm?&quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！<br /> <br /> The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”<br /> <br /> “So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)<br /> So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。<br /> On the one hand, while taking out a copy of the &quot;protection charm&quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。<br /> Yucun has not finished reading, suddenly smell spread point, report: &quot;Wang master came to visit.&quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)<br /> <br /> Yucun has not finished reading, but suddenly heard from the messenger saying : &quot;Wang master come to visit.&quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &quot;the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？<br /> <br /> The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。<br /> <br /> The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei<br /> <br /> The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。<br /> <br /> So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)<br /> <br /> So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；<br /> <br /> He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。<br /> <br /> <br /> <br /> When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’<br /> <br /> The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &quot;I don’t remember what happened when I was a child&quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)<br /> <br /> The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。<br /> <br /> Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。<br /> <br /> <br /> <br /> <br /> <br /> It would be better if Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？<br /> <br /> “Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。<br /> <br /> Finally, Pity Zhen could get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)<br /> <br /> Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？<br /> <br /> It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&quot; The servant said with a smile, &quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)<br /> <br /> It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”<br /> <br /> I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)<br /> <br /> I heard that you got a promotion additionally with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：<br /> <br /> Yucun says: &quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)<br /> <br /> Rain Village Merchant said:&quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> “老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”<br /> <br /> “What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。<br /> <br /> Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &quot;violent illness&quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：<br /> <br /> The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。<br /> <br /> The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)<br /> <br /> The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。<br /> <br /> The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)<br /> What about this plan, Master?&quot; Yu Cun laughed, &quot;No, it's not good. I'll have to think about it again, so that I can convince them.&quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。<br /> The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &quot;nephew has finished, do not have to worry about&quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。<br /> <br /> It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。<br /> <br /> Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .<br /> <br /> Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。<br /> <br /> His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.<br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)<br /> <br /> ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。<br /> <br /> Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)<br /> <br /> Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。<br /> <br /> Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。<br /> <br /> Xue pan, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Yinglian. Seeing that Yinglian was pretty, Xue pan decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。<br /> <br /> Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)<br /> <br /> <br /> Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&quot;<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”<br /> <br /> So he discussed with his mother, &quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&quot; His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan<br /> <br /> So he discussed with his mother, &quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”<br /> <br /> Now we go to the capital Beijing, and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：<br /> <br /> In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may <br /> try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。<br /> Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.<br /> <br /> Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”<br /> <br /> Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)<br /> <br /> Seeing that her brother was promoted, Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。<br /> <br /> Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)<br /> <br /> Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”<br /> <br /> “We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)<br /> <br /> “We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated to Lady King privately, &quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。<br /> <br /> Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；<br /> <br /> There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)<br /> <br /> There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；<br /> <br /> During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.<br /> <br /> During the day, Precious Hairpin Marshgrass was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。<br /> <br /> at the same time he directed servants to go and sweep the apartments of their own house and they should move into them when they were ready.<br /> But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)<br /> <br /> At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；<br /> Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.<br /> <br /> Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：<br /> <br /> Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:<br /> <br /> ==Nadia 202011080004==<br /> <br /> 这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 日后如何，下回分解。葫芦僧判断葫芦案──<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> “葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。<br /> <br /> Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 女子无才便是德──语出明·张岱《公祭祁夫人文》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> (又见清·石成金《家训钞》引)<br /> Translation: (See also the quote from Shi Chengjin's &quot;Family Instructions&quot;)<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。<br /> English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of <br /> <br /> virtuous women in past dynasties to publicize the feudal virtues of women.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &quot;Biographies of Exemplary Women&quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 纺绩女红(gōng工)──泛指女子应做的家务活计。<br /> <br /> Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)<br /> <br /> Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。<br /> <br /> ''Fangji'': &quot;Fang&quot; means to spin silk into yarn, &quot;Ji&quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)<br /> <br /> ''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 女红：又作“女工”或“女功”。<br /> <br /> Female Red (''gong''): is also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 是指纺织、缝纫、刺绣等。</div>

Wu Yinghong https://bou.de/u/index.php?title=20211229_homework&diff=134656 2021-12-29T08:23:52Z

<p>Wu Yinghong: /* 吴映红 Wú Yìnghóng 日语语言文学 女 202120081530 */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。<br /> <br /> The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&quot;I heard that a saint has seven hole in his heart.&quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)<br /> <br /> The heart is one more hole than Bigan. Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &quot;I heard that the heart of Bigan.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​<br /> <br /> 病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.​<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​<br /> Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​<br /> Therefore, Mascara Jade Forest is described as weak and beautiful by &quot;sick as Xizi wins three points&quot;. Next, Precious Jade Merchant wrote &quot;Pingping&quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​<br /> <br /> “花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：<br /> <br /> Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &quot;Jiuda&quot;. Later, the big families followed the suit. ​<br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Village Residence Book Xi&quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini<br /> <br /> Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.<br /> <br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Book of Happiness Living in Village&quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> “红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”<br /> <br /> Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 指子女早晨向父母请安问候的礼节。​<br /> <br /> 第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案<br /> <br /> It refers to the politeness children greet their parents in the morning.<br /> <br /> The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。<br /> <br /> Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)<br /> <br /> Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；<br /> <br /> When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。<br /> <br /> <br /> She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。<br /> <br /> But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)<br /> <br /> But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”<br /> <br /> I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&quot; &quot;This is a scandal!&quot; fumed Rainvillage Merchant. &quot;How can men commit a murder and go without punishment?&quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang<br /> <br /> He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”<br /> He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)<br /> <br /> He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。<br /> <br /> Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)<br /> <br /> Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。<br /> <br /> It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)<br /> <br /> The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。<br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &quot;Friendships,&quot; Yue-ts'un remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the passport just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &quot; Yu-tsun was confused and thus continued, &quot;guard officer?&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the warrant just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &quot; Yu-tsun was confused and thus continued, &quot;What's the protection charm?&quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！<br /> <br /> The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”<br /> <br /> “So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)<br /> So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。<br /> On the one hand, while taking out a copy of the &quot;protection charm&quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。<br /> Yucun has not finished reading, suddenly smell spread point, report: &quot;Wang master came to visit.&quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)<br /> <br /> Yucun has not finished reading, but suddenly heard from the messenger saying : &quot;Wang master come to visit.&quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &quot;the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？<br /> <br /> The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。<br /> <br /> The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei<br /> <br /> The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。<br /> <br /> So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)<br /> <br /> So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；<br /> <br /> He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。<br /> <br /> <br /> <br /> When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’<br /> <br /> The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &quot;I don’t remember what happened when I was a child&quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)<br /> <br /> The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)<br /> <br /> There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)<br /> <br /> I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。<br /> <br /> Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。<br /> <br /> <br /> <br /> <br /> <br /> It would be better if Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？<br /> <br /> “Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。<br /> <br /> Finally, Pity Zhen could get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)<br /> <br /> Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？<br /> <br /> It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&quot; The servant said with a smile, &quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)<br /> <br /> It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”<br /> <br /> I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)<br /> <br /> I heard that you got a promotion additionally with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：<br /> <br /> Yucun says: &quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)<br /> <br /> Rain Village Merchant said:&quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> “老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”<br /> <br /> “What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。<br /> <br /> Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &quot;violent illness&quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：<br /> <br /> The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。<br /> <br /> The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)<br /> <br /> The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。<br /> <br /> The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。<br /> The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &quot;nephew has finished, do not have to worry about&quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。<br /> <br /> It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.<br /> <br /> In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)<br /> <br /> Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。<br /> <br /> Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .<br /> <br /> Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。<br /> <br /> His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.<br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)<br /> <br /> ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。<br /> <br /> Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)<br /> <br /> Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。<br /> <br /> Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。<br /> <br /> Xue pan, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Yinglian. Seeing that Yinglian was pretty, Xue pan decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。<br /> <br /> Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)<br /> <br /> <br /> Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&quot;<br /> <br /> No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”<br /> <br /> So he discussed with his mother, &quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&quot; His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan<br /> <br /> So he discussed with his mother, &quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”<br /> <br /> Now we go to the capital Beijing, and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：<br /> <br /> In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may <br /> try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。<br /> Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.<br /> <br /> Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”<br /> <br /> Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)<br /> <br /> Seeing that her brother was promoted, Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。<br /> <br /> Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)<br /> <br /> Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)<br /> <br /> Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”<br /> <br /> “We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)<br /> <br /> “We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;<br /> <br /> Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated to Lady King privately, &quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。<br /> <br /> Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；<br /> <br /> There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)<br /> <br /> There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；<br /> <br /> During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.<br /> <br /> During the day, Precious Hairpin Marshgrass was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。<br /> <br /> at the same time he directed servants to go and sweep the apartments of their own house and they should move into them when they were ready.<br /> But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)<br /> <br /> At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；<br /> Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.<br /> <br /> Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：<br /> <br /> Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:<br /> <br /> ==Nadia 202011080004==<br /> <br /> 这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 日后如何，下回分解。葫芦僧判断葫芦案──<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> “葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。<br /> <br /> Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 女子无才便是德──语出明·张岱《公祭祁夫人文》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> (又见清·石成金《家训钞》引)<br /> Translation: (See also the quote from Shi Chengjin's &quot;Family Instructions&quot;)<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。<br /> English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of <br /> <br /> virtuous women in past dynasties to publicize the feudal virtues of women.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &quot;Biographies of Exemplary Women&quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 纺绩女红(gōng工)──泛指女子应做的家务活计。<br /> <br /> Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)<br /> <br /> Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。<br /> <br /> ''Fangji'': &quot;Fang&quot; means to spin silk into yarn, &quot;Ji&quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)<br /> <br /> ''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 女红：又作“女工”或“女功”。<br /> <br /> Female Red (''gong''): is also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 是指纺织、缝纫、刺绣等。</div>

Wu Yinghong https://bou.de/u/index.php?title=20211222_homework&diff=134143 2021-12-22T05:36:27Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211222_homework&diff=134142 2021-12-22T05:35:55Z

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

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_3&diff=132782 2021-12-14T05:21:02Z

<p>Wu Yinghong: /* 4.Beauty in Sound */</p> <hr /> <div>'''3 邱婷婷(On Xu Yuanchong’s poetry translation from “Three-Beauty” Theory -- Taking ''Three Hundred Tang Poems'' as an example)'''<br /> [[Aesth_App_EN_3]]<br /> ===Abstract===<br /> Chinese classical poetry has a long history and is full of romance. Its language is concise, its content is rich and diverse, its form is harmonious and unified, and its rhythm is beautiful, which makes it interesting to read. Poetry, as the highest form of expression in literature, has always been the best way for the literati to express their feelings, so the translation of poetry also puts forward higher requirements for the translator. Xu Yuanchong's theory of three principles provides a new direction and new thinking for the translation of poetry, which has a great guiding role in the practice of poetry translation.The Tang Dynasty was the most prosperous period of Chinese culture, and its poets created a large number of masterpieces with different styles and rich emotions. ''Three Hundred Tang Poems'' translated into English by Xu Yuanchong expressed the content and emotion of the poem vividly. This paper will analyze the “beauty” in Xu’s poetry translation from the three perspectives of “beauty of meaning”, “beauty of sound” and “beauty of form”.<br /> ===Key words===<br /> “three-beauty”theory; beauty in sense; beauty in sound; beauty in form<br /> ===题目===<br /> 从“三美论”浅析许渊冲的诗歌翻译—以《唐诗三百首》为例<br /> <br /> ===摘要===<br /> 中国古典诗歌历史悠久且颇具浪漫气息，其语言凝练，内容丰富多样，形式和谐统一，韵律优美，阅读中耐人寻味。诗歌，文学的最高表达形式之一，长久以来一直是文人抒发情感的最佳方式，因此对于诗歌的翻译,对翻译者也提出了更高的要求。许渊冲的三原则理论给诗歌的翻译提供了新的方向，新的思维，对于诗歌的翻译实践活动有很大的指导作用。唐朝是中国文化最为繁荣昌盛的时期，唐代诗人创作了大量风格迥异，情感丰富的名篇佳作。许渊冲英译的《唐诗三百首》，将诗中的内容、情感传神地表达了出来。本文将从许渊冲提出的“三美论”，即“意美”、“音美”、“形美”这三个角度来赏析其诗歌翻译中的“美”。<br /> ===关键词===<br /> “三美”理论；意美；音美；形美<br /> <br /> ===1. Introduction ===<br /> Xu Yuanchong (April 18, 1921 -- June 17, 2021), was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of Southwest Associated University in his early years. He has been engaged in literary translation for more than 60 years, covering Chinese, English, French and other languages, focusing on the translation of ancient Chinese poetry into English, forming the method and theory of rhyming style translation of poetry, known as “the only person to translate poetry into English and French”. As an outstanding translator in contemporary China, he plays an important role in promoting Chinese cultural works and letting them be known by so many foreigners. In 2010, Xu won the “Lifetime Achievement Award of Chinese Translation Culture”. On August 2, 2014, Xu Yuanchong was awarded the “Northern Lights” Outstanding Literary Translation Award, one of the highest awards in the international translation field, and was the first Asian translator to receive this award (Zhou Rongrong,2020:129). Mr.Xu Yuanchong plays an important role in Chinese translation circle, not only for his numerous translation masterpieces but also for his translation theory, which has a great influence in latter translators.<br /> <br /> Poetry, according to Alexander Pope, has been said to consist of “what oft was thought, but ne’er so well expressed” . Thus, poetry seems to lie on a continuum with one end attached to human feelings and emotions, which can only be sensed, not given expression to; for how can we say how much we enjoyed a poem? The other side attached to his means of communication, i.e. language; hence the controversial relationship between language and mind (Dastjerdi et. al, 2008:8).Most current translations, versions , and imitations of poetry have two main features in common:they both expand and compress the source text. Compression is mainly achieved through the use of compound-words or paraphrase and frequently camouflaged as “explanation,” “interpretation,” or even “improvement.” Expansion is achieved through the use of exaggeration, explicitness, and padding, and camouflaged in much the same way(André, 1975:384). And to some extent, the original beauty would be decreased by such methods without an orderly theory. The translation theory of “three-beauty” determines that Xu Yuanchong be consistent with the principle of “pursuing beauty” over “expressing faithfully” in his translation practice, attaches importance to the “beauty”of poetry and gives full play to his creativity. Xu once said that “The main purpose of poetry translation is not to make reputation of the poet letting him being remembered by the people of future generations, but to enable people to share the poet’s graceful feelings”; “I think translating poems should be ingenious and creative, he added.(He Xiaoli, 2019:117)<br /> <br /> ''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.<br /> <br /> Three Hundred Tang Poems is a very popular anthology of Tang poetry. The Tang dynasty (618-907) was the golden age of Chinese poetry, with many famous poets and more than 50,000 poems. The book Three Hundred Tang Poems (Chinese and English), completed by Xu Yuanzhong, was published by China International Translation Press in 2007. And the theory of &quot;Three Beauties&quot; is often used in the translation of &quot;Three Hundred Tang Poems&quot;. Therefore, it is highly practical to study Xu Yuanzhong's translation of Three Hundred Tang Poems from the perspective of his translation theory &quot;Three Beauties&quot;. This paper studies and evaluates the translation of the Three Hundred Tang Poems on the basis of the principle of &quot;Three Beauties&quot;, and divides the discussion into four main parts: the explanation of the theory of &quot;Three Beauties&quot;, the evaluation from the scope of the beauty of meaning, the evaluation from the scope of the beauty of sound, and the evaluation from the scope of the beauty of form.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:14, 14 December 2021 (UTC)<br /> <br /> ===2.“Three-Beauty” Theory===<br /> The theory of “three-beauty” was first put forward by Xu Yuanchong in his letter to the aesthetician Zhu Guangqian(a famous Chinese Modern and contemporary aesthetician, literary theorist, educator, translator) in 1979, and has been continuously applied in subsequent translation practices. Xu Yuanchong once said:“Western translation stresses equivalence, advocating word for word translation, almost 90% of their written vocabulary is equivalent. Chinese is different from other languages in that only 50% of words are equivalent to words. Although equivalence does not violate objective regularity, it does not give play to subjective initiative. Without distorting the author's meaning, translation must reflect the connotation, essence and soul of a national culture”(Zhou Rongrong,2020:131). It is known to all that Xu won his national reputation mainly from his poetry translation practice and his initiation of the principle of “ three-beauty”(which refers to beauty in sense, sound and form). It’s of great significance to the practice of poetry translation, and might be assumed as a milestone in the field of poetry translation(Guo Zhuzhang,1997).<br /> <br /> Actually the principle of “ three-beauty” was initially put forward in the essay “From Language to Artical”by Lu Xun( the great writer, thinker and revolutionary in China). He stated “in learning a Chinese character, three aspects should be taken into consideration, namely, ‘the sense, the sound and the form’,as to article writing, beauty in three aspects should likewise be taken into account: for one thing, to achieve beauty in sense to move reader’s heart; the second, to achieve beauty in sound to suffice reader’s ears; finally, to achieve beauty in form to appeal to reader’s eyes(Guo Zhuzhang,1997). As the principles were only applied in language and character, Xu employed it to poetry translation after having a comprehend understanding and analysis of the original principles. What’s more, Xu published a series of articles to further expound the principle of “three-beauty”.<br /> <br /> “with regard to ‘three-beauty’, beauty in sense is of the greatest significance, therefore should be put in the first position; beauty in sound is of less important and hence is placed in the second place; whereas beauty in form is of the least magnitude and ought to laid in the third place.” “We should exert ourselves to convey the beauty in sound of the original work under the provision of faithful reproduction of the original beauty in sense; furthermore, we should try our utmost to convey the beauty in form of the source text under the provision of both the reproduction of the original beauty in sense and in sound; in a word, we should ake the greatest endeavor to reproduce the original beauty in sense, in sound and in form comprehensively”(Xu Yuanchong, 1997).<br /> <br /> This is the situation that you can handle the three aspects simultaneously, however there are a host of texts that are very complicated and you can not make it work. So under this circumstance, Xu further sates that:“If ‘three-beauty’ cannot be achieved simultaneously, the resemblance in form can be ignored, so is the resemblance in sound; nevertheless, the conveyance of original beauty in sense and in sound should be retained in whatever circumstance (Xu Yuanchong,1997). <br /> <br /> According to his statement, we can draw a conclusion that when we are translating something especially poetry, we should pay attention to the three aspects: sense, sound and form. And the beauty of sense occupies the first place, sound the second, form the third. In other words, the meaning of the poetry is the most important thing that we can not violate it in order to achieve other effects. On the condition that we do not affect the meaning, we can take the sound into consideration. As very different from other genres of articles, poetry pays much attention to the rhythm which can be read in a catchy and graceful way, making people easy to experience the feeling of the poets. And the form, after considering the sense and sound, the form is also important.<br /> <br /> As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)<br /> <br /> His remarks lead us to the conclusion that when we translate something, especially poetry, we should pay attention to three aspects: sensation, sound and form. And the beauty of the senses occupies the first place, the sound the second place, and the form the third place. In other words, the meaning of a poem is of paramount importance, and it cannot be violated in order to achieve other effects. Sound can be taken into account, provided that it does not affect the meaning. Very different from other genres of articles, poetry pays attention to rhythm, which can be read in a catchy and graceful way and allows people to experience the poet's feelings easily. And form is also important, taking sensation and sound into account.<br /> As you know, poetry translation is a creative translation. Unless the translator grasps the content and spirit of the original work and finds the most appropriate reflection in his own mind, he cannot do a good translation. Therefore, Xu believes that literary translation, especially the translation of poetry, is about using the best words to achieve an aesthetic effect. Due to language differences, there must be losses in many aspects, but by using the best words, we can reproduce the original beauty and make up for the losses (Xu Xiufeng, 2006).--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:20, 14 December 2021 (UTC)<br /> <br /> ===3.Beauty in Sense===<br /> Mr. Xu Yuanchong believes that beauty in sense is the most important task in poetry translation and it is also the core of the “three-beauty” theory. As mentioned before, when we are doing poetry translation, we have to pay our attention to the sense of the poem at first, because it is the most fundamental aspect. In sense translation, it is not only a simple and direct translation of the meaning of the poem, but also the deep meaning that the poet wants to express while conveying the surface meaning. And for the deep meaning, the deep meaning of a poetry is much difficult to express succinctly, since there are many images in a poetry. As poetry is a literary form that conveys the poet’s thoughts and feelings, its content is mostly abstract, so in this case, translation will encounter great difficulties.<br /> Beauty in sense, in short, means that the translated poem should be faithful in content, smooth in language expression, and deeply convey the beauty of the artistic conception of the original poem, so that the readers of the translated poem can have the same spiritual shock and touching as the readers of the original poem (He Xiaoli, 2019:116) . Therefore, it is very important for the translator to retain the artistic conception of the original poem. Take professor Xu’s English translation of tang dynasty poem “Out of the Great Wall”, written by Wang Zhihuan as an example:<br /> <br /> <br /> 黄河远上白云间，一片孤城万仞山。<br /> <br /> 羌笛何须怨杨柳，春风不度玉门关。（Xu Yuanchong, 2011:438）<br /> <br /> <br /> The Yellow River rises to the white cloud;<br /> <br /> The lonely town is lost amid the mountains proud.<br /> <br /> Why should the Mongol flute complain no willows grow?<br /> <br /> Beyond the Gate of Jade no vernal wind will blow. (Xu Yuanchong, 2011:64) <br /> <br /> <br /> This poem was written at the time when the poet first arrived in Liang Zhou( ancient northwest capital of China), facing the Yellow River and the vast scenery of the border city, at the same time, hearing the song “Snapping Willows” and was inspired to write this poem, which expresses the feeling of missing home of those soldiers who guard the frontier of their country. The first two lines of the poem describe the vast scenery in the northwest. Mr. Xu used “rise” to present the “远上”, although it describes the Yellow River flowing away into the distance, as if towards the sky, the word “rise” can also describe the magnificent sight of the Yellow River surging forward. <br /> <br /> Then he described “the lonely town ‘is lost amid’ the mountains ‘proud’ ”. Actually in the original poem, the poet only listed the lonely town and the high mountains. Actually, “仞” is an unit of length in ancient Chinese, and “万仞” shows the amazing height of the mountains.In Xu Yuanchong’s translation, both the lonely town and the high mountains are personified. The lonely town is lost in the proud and high mountains like human being. On the basis of accurately conveying the surface meaning of the original poem, the translator also vividly expresses the poet’s emotion by means of personifying the image. To some extent, this translated sentence is even better than the original poem. Since the “lonely town” in this poem is the image of those soldiers, they were like the lonely town, lost in the high mountains in the northwest China.<br /> <br /> As for the third sentence, “羌笛何须怨杨柳” shows the meaning that against the backdrop of this desolate environment, the Qiang Flute, in the meantime, played to the tune of “Picking up a Willow Branch”, made soldiers on the border feel homesick(Huang Bingxiang, 1991:65). In this sentence, “羌笛” refers to a musical instrument, a kind of flute popular in the frontier in ancient times and being called Qiang Flute because it rooted in the Qiang ethnic minority. And “怨” translated into “complain” is very appropriate and it can exactly express the feeling of the poet. Because the Chinese word for “willow” (柳) sounds similar to the word for “stay” (留) in Chinese, ancient Chinese people often gave a gift of willow as a token of remembrance when parting. While hearing the plaintive song with melancholy, those solders were so upset and the poet did not know how to comfort them, instead he can only complain that why the Qiang Flute always play sorrowful musics.<br /> <br /> In the last sentence, “春风不度玉门关” shows that vernal wind will never reach the Gate of Jade. And in Mr.Xu’ translation, he completely conveys the meaning of the original poem. And “vernal wind” is an image of the emperor at that time, because the emperor’s care could not reach there, outside the Gate of Jade in such a dangerous and terrible environment. The poet expressed his complaints that the emperor did not care about the life and death of the frontier soldiers guarding the Gate of Jade and couldn’t sympathize with them(Sheng Dalin, 2020:52).<br /> <br /> In this translation, the translator have conveyed not only the surface meaning, but also the deep feeling of the poet by using some methods, such as personification. With this, those foreigners can have a better understanding about this poem, about the hard life of those frontier soldiers. Through this translation, we can see the terrible environment of the frontier, soldiers’ longing for home, and the poet’s helpless and complaints about the emperor.<br /> <br /> ===4.Beauty in Sound===<br /> One of the reasons for the great artistic charm of Chinese Poetry in the Tang Dynasty is that it pursues the beauty of sound and rhyme, pays attention to the level and oblique tones (The tones in ancient Chinese are divided into four tones: “Level tone” refers to the flatness of the four tones; “Oblique tone” refers to the other three tones), and makes good use of reduplication of words. However, the translation of cross-cultural literary works involves two completely different linguistic symbol systems and phonological combinations. For example, in poetry, one of the compatible combinations of some thoughts and artistic conception in the culture of China is a rhyme, which is a kind of well-arranged prose with musical beauty. However, when the combination of language symbols in the English culture is transformed, its arrangement loses all the rhythmic and music aesthetic feelings in the original text, thus resulting in the loss of cultural aesthetic of rhyme (Bao Tongfa, 2003:55).<br /> <br /> One of the reasons for the artistic excellence of Tang dynasty Chinese poetry is the beauty of sound and rhyme, the use of flat and oblique tones (the ancient Chinese divided tones into four categories: &quot;level tones&quot;, which are the flatter of the four tones, and &quot;oblique tones&quot;, which are the remaining three) and the reduplication of words. The &quot;level tones&quot; are the flatter of the four tones, and the &quot;oblique tones&quot; are the remaining three), and the successful use of verbal reduplication. However, in the translation of literary works from different cultures, there are two very different linguistic symbol systems and phonetic combinations. For example, in poetry, one of the compatible combinations of some idea or artistic conception in Chinese culture is rhyme, which is a kind of orderly prose with musical beauty. However, when the combination of linguistic symbols in English culture is transformed, the arrangement loses all the rhythmic and musical aesthetics of the original, resulting in the loss of the cultural aesthetics of rhyme (Bao Tongfa, 2003:55).--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:21, 14 December 2021 (UTC)<br /> <br /> In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:<br /> <br /> <br /> 袅袅古堤边，青青一树烟。<br /> <br /> 若为丝不断，留取系郎船。（Xu Yuanchong, 2011:525）<br /> <br /> <br /> Your long, long branches wave by riverside,<br /> <br /> Your green, green leaves like wreaths of smoke afloat.<br /> <br /> “Make ropes unbreakable of them,” she sighed,<br /> <br /> “To tie up my beloved one’s parting boat!”(Xu Yuanchong, 2011:211)<br /> <br /> <br /> This is a poem of four line with each containing five characters, and it is named as “五言绝句” in Chinese. This kind form of poem “ five-character quatrain” was not the creation of poets in the Tang Dynasty, but originated from the yuefu poems of the Han and Wei dynasties. Due to the limitation of the number of words, compared with other poetic genres, the “five-character quatrain”should be more concise and generalized in terms of its language and expression techniques, which makes it more difficult to create. Therefore, this kind of poem naturally become the most brilliant pearl in the poetry of Tang Dynasty and is also the essence of that time. (Wang Quan, 2015:125)<br /> <br /> The poem in Chinese the first two sentences rhyme with “an” as “边” and “烟” , and the last two sentences rhyme with “ uan” as “断” and “船”. And each sentence of them is composed with five characters, making the whole poem very catchy, rhythmic and melodious when we read it. In the translation version, Professor Xu Yuanchong uses intersentence rhyming, the first and third sentences rhyme with “aɪd” as “riverside” and “sighed” while the second and the fourth sentence rhyme with “oʊt” as “afloat” and “boat”. For “an” and “aɪd”sounds, we just have to open our mouth slightly, but for the other two sounds we have to keep our mouth wide. Taking into account the similarity of rhyme in translation can make the translated poem closer to the original poem in terms of rhyme and retain the beauty of the original poem as much as possible.<br /> <br /> The first two sentences describe a scene that on both sides of the old embankments, there are green willows dancing with the wind. Actually the poet didn’t mentioned the willow directly but made a metaphor. In the wind, the bountiful branches of willows dance in the wind which are just like a wisp of smoke. In the poem, the poet uses the reduplication “袅袅” and “青青” and in the translation Professor Xu focuses on reproducing the rhythmic beauty of the original poem, by using the reduplication “long, long” and “green, green” making the two sentences very rhythmic. In the last two sentences, in poet shows the psychological activities of the heroine, but in the translation, these two sentences are directly expressed as the sigh of the heroine. In all, this translation greatly retains the rhythmic beauty of the original poem, making it also reads rhythmically.<br /> <br /> ===5.Beauty in Form===<br /> Tang poetry is famous for the metrical, neat antithesis, the length of the former sentences and the latter ones being the same, and scattered well. Form beauty mainly refers to the consistency of lines and stanzas between the translated poem and the original poem. When translating, the translator should try to make the target language readers read the translation with the same effect. If the translated poem and the original poem have the same number of lines, the same number of sections, and the same form in terms of sentence length and antithesis, the beauty of the form of the original poem is basically reflected (Jiang Mingyu, 2020:139). Actually, translation is a kind of imitation, we should do our best to keep the original entity be transformed into the thing that can be as similar as possible, and it doesn’t simply depend on one side but on the whole aspects which it will be seen. However, in the process of translation, we should not blindly pursue the same form, because this rigid correspondence is likely to cause great changes in other aspects of the poem, resulting in great loss to the meaning and sound of the original poem. So according to professor Xu’ “three-beauty” theory, it would be better for those translators to adjust the formal features of the poem to make it consistent with the original poem to the greatest extent without compromising the meaning and rhythm of the original poem. Personally, a certain degree of innovation in the form is not undesirable.Take Professor Xu’s English translation of Tang Dynasty poem “Song Of The Pating Son” as an example:<br /> <br /> <br /> 慈母手中线，游子身上衣。<br /> <br /> 临行密密缝，意恐迟迟归。<br /> <br /> 谁言寸草心，报得三春晖？（Xu Yuanchong, 2011:522）<br /> <br /> <br /> From the threads a mother’s hands weaves,<br /> <br /> A gown for parting son is made.<br /> <br /> Sewn stitch by stitch before he leaves,<br /> <br /> For fear his return be delayed.<br /> <br /> Such kindness as young grass receives,<br /> <br /> From the warm sun can be repaid? (Xu Yuanchong, 2011:208)<br /> <br /> <br /> This poem, composed of six lines and thirty characters, expresses the poet’s respect, love and gratitude to his mother, which has resonated with countless people from ancient times till now. The first two sentences describe a scene in which the mother, holding a needle and thread, makes new clothes for her child, which shows the mother’s love in profile. The third and fourth sentences describe the mother’s actions and psychological feelings respectively.<br /> <br /> The beauty of form in poetry also has antithesis, that is, a pair of sentences with basically the same or similar grammatical structure and exactly the same number of syllables, to express a opposite or relative meaning. Chinese classical poetry pays much attention to antithesis. In the original poem, “慈母” and “游子”、 “手中线” and “身上衣”、 “密密缝” and “迟迟归”、 “寸草心”and “三春晖” all respectively form antitheses, making the structure of the poem very neat. “慈母” refers to a loving mother and “游子” means sons and daughters who are far away from their parents being the subjects of this sentences. While for “手中线”and “身上衣”, “手”and “身” are both the organ of people’s body, “中” and “上” are both directional nouns, and “线”and “衣” are both nouns, in addition clothes are made of thread. Then “密密”and “迟迟” use the reduplication to embellish the following verbs “逢”and “归”. As for“寸草心”and “三春晖”, they respectively refer to children’s gratitude to their parents and mother’s love. <br /> <br /> In the translation, professor Xu didn’t translate directly in the order of the original text but instead translated the first, fourth and last sentence, by putting the preposition at the beginning and the second and fifth sentences use the form of “article + noun” to start the sentences. What’s more, the verb of each sentence is placed at the end of the sentence, and the preposition “from” is used as the beginning of the first and last sentence, which makes the whole poem echo of fore and aft in structure and makes the poem look more complete. In addition, professor Xu adopted the expression of one line and one sentence conforming to the form of English poetry, and translated each clause in the original poem into one line, with each line having eight to ten syllables. <br /> <br /> Through his superb translation skills, by adjusting the original order of the poem, Xu Yuanchong presents the very concise meaning of the original poem to the readers well. As I have mentioned before, it’s very hard for translators to show one hundred percent of the beauty of the original poem. But in fact, in the process of translation, the three aspects of beauty should be considered together. They are not the difference in order, but the difference in the main degree.<br /> <br /> ===6.Conclusion===<br /> Every act of translation is mingled with some problems and challenges. Poetry translation may be more challenging than other types of translation due to the importance of both form and content in the type of interpretation and response evoked in the audience. In poetry translation one of the most essential issues to be addressed by the translator is whether to prefer the form over the content or vice versa(Leila, 2011:3).As a translation standard, the proposal of “three-beauties” has a very positive significance. It is Xu Yuanchong’s contribution to poetry translation theory. His creativity can be described as a link between the past and the future. It can be said that Mr. Xu Yuanchong’s originality (Pu Hongying, 2010:101). The “three-beauty” theory promoted by Xu Yuanchong, and used in the process of poem translation, is a translation theory of great reference value. In the process of poetry translation, we should follow the “three-beauty” theory. First of all, we should have a relatively rich background knowledge, enough to support our understanding of the meaning of the original poem at all levels. Secondly, in the process of translation, we do not consider meaning beauty first and then the other two aspects, but consider the three aspects at the same time, and put the beauty of sense in a more important position, followed by sound and form. It will help translators a lot in poetry translation by using the “three-beauty” theory. Wellek and Warren, as far back as in 1942, said that “Meanings, context, and ‘tone’ are needed to turn linguistic sounds into artistic facts.” This claim is based on the idea that poetry is a series of sounds out of which arises a meaning. Sounds are arranged according to stress and pitch, recurrence, position of rhythmical units and other elements that together furnish what has misleadingly been called the “musicality” of a poem (Marta, 1998:24). There are still some similarities between Chinese and English poem translation, both focusing on meaning and sound.<br /> <br /> But at the same time, there are of course some limitations in the “three-beauty” theory. According to cognitive linguistics, we can know that every language is based on the reality, and then through our cognitive pattern, we can form the language we actually use. What makes sense is that we human beings of different country, we have different cognitive patterns and even every individual has a special way to know the world. As for every language is according to the characteristic of the elements such as phonetics, grammar and vocabulary, according to the characteristic of the structure of a set of complete system, so the Chinese and English two languages in pronunciation, vocabulary, grammar, discourse, pragmatics have significant differences in various aspects (Pu Hongying, 2010:101). So the “three-beauty” theory which we focus on in Chinese poetry is not necessarily the same “three-beauty” of the poetry in English. As a result, it seems impossible to achieve the “three-beauty” standard entirely in concrete practice.<br /> <br /> ===References===<br /> Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版)Journal of Yanshan University (Philosophy and Social Science Edition)--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.03:55-58.<br /> <br /> He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）Literary Education--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.484 (10）:116-117.<br /> <br /> Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横Social Science Column,No.2:64-66.<br /> <br /> Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上)Literary Education,No.517(09):138-139.<br /> <br /> Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报Journal of Shangqiu Normal College,No.36(07):49-57.<br /> <br /> Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of &quot;Three Beauties&quot;)[J].伊犁师范学院学报(社会科学版)Journal of Ili Normal College,No.01:99-101.<br /> <br /> Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版)Journal of Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.01:124-128<br /> <br /> Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC)，2006.<br /> <br /> Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社Five Continents Communication Press--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC).<br /> <br /> Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of &quot; beauty in meaning&quot; in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.<br /> <br /> Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版)Journal of Heilongjiang Institute of Technology--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.20(10):129-133.<br /> <br /> Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.<br /> <br /> Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari.(2008) &quot;Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse.&quot; Journal of Language &amp; Translation 9.1,pp.7-40.<br /> <br /> Lefevere, André. (1975) “The translation of poetry: Some observations and a model.” Comparative Literature Studies,pp.384-392.<br /> <br /> Niknasab, Leila, and Elham Pishbin.(2011) &quot;On the translation of poetry: A look at Sohrab Sepehri's traveler.&quot; SKASE Journal of Translation and Interpretation 5.1, pp.2-23.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_3&diff=132781 2021-12-14T05:20:02Z

<p>Wu Yinghong: /* 2.“Three-Beauty” Theory */</p> <hr /> <div>'''3 邱婷婷(On Xu Yuanchong’s poetry translation from “Three-Beauty” Theory -- Taking ''Three Hundred Tang Poems'' as an example)'''<br /> [[Aesth_App_EN_3]]<br /> ===Abstract===<br /> Chinese classical poetry has a long history and is full of romance. Its language is concise, its content is rich and diverse, its form is harmonious and unified, and its rhythm is beautiful, which makes it interesting to read. Poetry, as the highest form of expression in literature, has always been the best way for the literati to express their feelings, so the translation of poetry also puts forward higher requirements for the translator. Xu Yuanchong's theory of three principles provides a new direction and new thinking for the translation of poetry, which has a great guiding role in the practice of poetry translation.The Tang Dynasty was the most prosperous period of Chinese culture, and its poets created a large number of masterpieces with different styles and rich emotions. ''Three Hundred Tang Poems'' translated into English by Xu Yuanchong expressed the content and emotion of the poem vividly. This paper will analyze the “beauty” in Xu’s poetry translation from the three perspectives of “beauty of meaning”, “beauty of sound” and “beauty of form”.<br /> ===Key words===<br /> “three-beauty”theory; beauty in sense; beauty in sound; beauty in form<br /> ===题目===<br /> 从“三美论”浅析许渊冲的诗歌翻译—以《唐诗三百首》为例<br /> <br /> ===摘要===<br /> 中国古典诗歌历史悠久且颇具浪漫气息，其语言凝练，内容丰富多样，形式和谐统一，韵律优美，阅读中耐人寻味。诗歌，文学的最高表达形式之一，长久以来一直是文人抒发情感的最佳方式，因此对于诗歌的翻译,对翻译者也提出了更高的要求。许渊冲的三原则理论给诗歌的翻译提供了新的方向，新的思维，对于诗歌的翻译实践活动有很大的指导作用。唐朝是中国文化最为繁荣昌盛的时期，唐代诗人创作了大量风格迥异，情感丰富的名篇佳作。许渊冲英译的《唐诗三百首》，将诗中的内容、情感传神地表达了出来。本文将从许渊冲提出的“三美论”，即“意美”、“音美”、“形美”这三个角度来赏析其诗歌翻译中的“美”。<br /> ===关键词===<br /> “三美”理论；意美；音美；形美<br /> <br /> ===1. Introduction ===<br /> Xu Yuanchong (April 18, 1921 -- June 17, 2021), was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of Southwest Associated University in his early years. He has been engaged in literary translation for more than 60 years, covering Chinese, English, French and other languages, focusing on the translation of ancient Chinese poetry into English, forming the method and theory of rhyming style translation of poetry, known as “the only person to translate poetry into English and French”. As an outstanding translator in contemporary China, he plays an important role in promoting Chinese cultural works and letting them be known by so many foreigners. In 2010, Xu won the “Lifetime Achievement Award of Chinese Translation Culture”. On August 2, 2014, Xu Yuanchong was awarded the “Northern Lights” Outstanding Literary Translation Award, one of the highest awards in the international translation field, and was the first Asian translator to receive this award (Zhou Rongrong,2020:129). Mr.Xu Yuanchong plays an important role in Chinese translation circle, not only for his numerous translation masterpieces but also for his translation theory, which has a great influence in latter translators.<br /> <br /> Poetry, according to Alexander Pope, has been said to consist of “what oft was thought, but ne’er so well expressed” . Thus, poetry seems to lie on a continuum with one end attached to human feelings and emotions, which can only be sensed, not given expression to; for how can we say how much we enjoyed a poem? The other side attached to his means of communication, i.e. language; hence the controversial relationship between language and mind (Dastjerdi et. al, 2008:8).Most current translations, versions , and imitations of poetry have two main features in common:they both expand and compress the source text. Compression is mainly achieved through the use of compound-words or paraphrase and frequently camouflaged as “explanation,” “interpretation,” or even “improvement.” Expansion is achieved through the use of exaggeration, explicitness, and padding, and camouflaged in much the same way(André, 1975:384). And to some extent, the original beauty would be decreased by such methods without an orderly theory. The translation theory of “three-beauty” determines that Xu Yuanchong be consistent with the principle of “pursuing beauty” over “expressing faithfully” in his translation practice, attaches importance to the “beauty”of poetry and gives full play to his creativity. Xu once said that “The main purpose of poetry translation is not to make reputation of the poet letting him being remembered by the people of future generations, but to enable people to share the poet’s graceful feelings”; “I think translating poems should be ingenious and creative, he added.(He Xiaoli, 2019:117)<br /> <br /> ''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.<br /> <br /> Three Hundred Tang Poems is a very popular anthology of Tang poetry. The Tang dynasty (618-907) was the golden age of Chinese poetry, with many famous poets and more than 50,000 poems. The book Three Hundred Tang Poems (Chinese and English), completed by Xu Yuanzhong, was published by China International Translation Press in 2007. And the theory of &quot;Three Beauties&quot; is often used in the translation of &quot;Three Hundred Tang Poems&quot;. Therefore, it is highly practical to study Xu Yuanzhong's translation of Three Hundred Tang Poems from the perspective of his translation theory &quot;Three Beauties&quot;. This paper studies and evaluates the translation of the Three Hundred Tang Poems on the basis of the principle of &quot;Three Beauties&quot;, and divides the discussion into four main parts: the explanation of the theory of &quot;Three Beauties&quot;, the evaluation from the scope of the beauty of meaning, the evaluation from the scope of the beauty of sound, and the evaluation from the scope of the beauty of form.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:14, 14 December 2021 (UTC)<br /> <br /> ===2.“Three-Beauty” Theory===<br /> The theory of “three-beauty” was first put forward by Xu Yuanchong in his letter to the aesthetician Zhu Guangqian(a famous Chinese Modern and contemporary aesthetician, literary theorist, educator, translator) in 1979, and has been continuously applied in subsequent translation practices. Xu Yuanchong once said:“Western translation stresses equivalence, advocating word for word translation, almost 90% of their written vocabulary is equivalent. Chinese is different from other languages in that only 50% of words are equivalent to words. Although equivalence does not violate objective regularity, it does not give play to subjective initiative. Without distorting the author's meaning, translation must reflect the connotation, essence and soul of a national culture”(Zhou Rongrong,2020:131). It is known to all that Xu won his national reputation mainly from his poetry translation practice and his initiation of the principle of “ three-beauty”(which refers to beauty in sense, sound and form). It’s of great significance to the practice of poetry translation, and might be assumed as a milestone in the field of poetry translation(Guo Zhuzhang,1997).<br /> <br /> Actually the principle of “ three-beauty” was initially put forward in the essay “From Language to Artical”by Lu Xun( the great writer, thinker and revolutionary in China). He stated “in learning a Chinese character, three aspects should be taken into consideration, namely, ‘the sense, the sound and the form’,as to article writing, beauty in three aspects should likewise be taken into account: for one thing, to achieve beauty in sense to move reader’s heart; the second, to achieve beauty in sound to suffice reader’s ears; finally, to achieve beauty in form to appeal to reader’s eyes(Guo Zhuzhang,1997). As the principles were only applied in language and character, Xu employed it to poetry translation after having a comprehend understanding and analysis of the original principles. What’s more, Xu published a series of articles to further expound the principle of “three-beauty”.<br /> <br /> “with regard to ‘three-beauty’, beauty in sense is of the greatest significance, therefore should be put in the first position; beauty in sound is of less important and hence is placed in the second place; whereas beauty in form is of the least magnitude and ought to laid in the third place.” “We should exert ourselves to convey the beauty in sound of the original work under the provision of faithful reproduction of the original beauty in sense; furthermore, we should try our utmost to convey the beauty in form of the source text under the provision of both the reproduction of the original beauty in sense and in sound; in a word, we should ake the greatest endeavor to reproduce the original beauty in sense, in sound and in form comprehensively”(Xu Yuanchong, 1997).<br /> <br /> This is the situation that you can handle the three aspects simultaneously, however there are a host of texts that are very complicated and you can not make it work. So under this circumstance, Xu further sates that:“If ‘three-beauty’ cannot be achieved simultaneously, the resemblance in form can be ignored, so is the resemblance in sound; nevertheless, the conveyance of original beauty in sense and in sound should be retained in whatever circumstance (Xu Yuanchong,1997). <br /> <br /> According to his statement, we can draw a conclusion that when we are translating something especially poetry, we should pay attention to the three aspects: sense, sound and form. And the beauty of sense occupies the first place, sound the second, form the third. In other words, the meaning of the poetry is the most important thing that we can not violate it in order to achieve other effects. On the condition that we do not affect the meaning, we can take the sound into consideration. As very different from other genres of articles, poetry pays much attention to the rhythm which can be read in a catchy and graceful way, making people easy to experience the feeling of the poets. And the form, after considering the sense and sound, the form is also important.<br /> <br /> As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)<br /> <br /> His remarks lead us to the conclusion that when we translate something, especially poetry, we should pay attention to three aspects: sensation, sound and form. And the beauty of the senses occupies the first place, the sound the second place, and the form the third place. In other words, the meaning of a poem is of paramount importance, and it cannot be violated in order to achieve other effects. Sound can be taken into account, provided that it does not affect the meaning. Very different from other genres of articles, poetry pays attention to rhythm, which can be read in a catchy and graceful way and allows people to experience the poet's feelings easily. And form is also important, taking sensation and sound into account.<br /> As you know, poetry translation is a creative translation. Unless the translator grasps the content and spirit of the original work and finds the most appropriate reflection in his own mind, he cannot do a good translation. Therefore, Xu believes that literary translation, especially the translation of poetry, is about using the best words to achieve an aesthetic effect. Due to language differences, there must be losses in many aspects, but by using the best words, we can reproduce the original beauty and make up for the losses (Xu Xiufeng, 2006).--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:20, 14 December 2021 (UTC)<br /> <br /> ===3.Beauty in Sense===<br /> Mr. Xu Yuanchong believes that beauty in sense is the most important task in poetry translation and it is also the core of the “three-beauty” theory. As mentioned before, when we are doing poetry translation, we have to pay our attention to the sense of the poem at first, because it is the most fundamental aspect. In sense translation, it is not only a simple and direct translation of the meaning of the poem, but also the deep meaning that the poet wants to express while conveying the surface meaning. And for the deep meaning, the deep meaning of a poetry is much difficult to express succinctly, since there are many images in a poetry. As poetry is a literary form that conveys the poet’s thoughts and feelings, its content is mostly abstract, so in this case, translation will encounter great difficulties.<br /> Beauty in sense, in short, means that the translated poem should be faithful in content, smooth in language expression, and deeply convey the beauty of the artistic conception of the original poem, so that the readers of the translated poem can have the same spiritual shock and touching as the readers of the original poem (He Xiaoli, 2019:116) . Therefore, it is very important for the translator to retain the artistic conception of the original poem. Take professor Xu’s English translation of tang dynasty poem “Out of the Great Wall”, written by Wang Zhihuan as an example:<br /> <br /> <br /> 黄河远上白云间，一片孤城万仞山。<br /> <br /> 羌笛何须怨杨柳，春风不度玉门关。（Xu Yuanchong, 2011:438）<br /> <br /> <br /> The Yellow River rises to the white cloud;<br /> <br /> The lonely town is lost amid the mountains proud.<br /> <br /> Why should the Mongol flute complain no willows grow?<br /> <br /> Beyond the Gate of Jade no vernal wind will blow. (Xu Yuanchong, 2011:64) <br /> <br /> <br /> This poem was written at the time when the poet first arrived in Liang Zhou( ancient northwest capital of China), facing the Yellow River and the vast scenery of the border city, at the same time, hearing the song “Snapping Willows” and was inspired to write this poem, which expresses the feeling of missing home of those soldiers who guard the frontier of their country. The first two lines of the poem describe the vast scenery in the northwest. Mr. Xu used “rise” to present the “远上”, although it describes the Yellow River flowing away into the distance, as if towards the sky, the word “rise” can also describe the magnificent sight of the Yellow River surging forward. <br /> <br /> Then he described “the lonely town ‘is lost amid’ the mountains ‘proud’ ”. Actually in the original poem, the poet only listed the lonely town and the high mountains. Actually, “仞” is an unit of length in ancient Chinese, and “万仞” shows the amazing height of the mountains.In Xu Yuanchong’s translation, both the lonely town and the high mountains are personified. The lonely town is lost in the proud and high mountains like human being. On the basis of accurately conveying the surface meaning of the original poem, the translator also vividly expresses the poet’s emotion by means of personifying the image. To some extent, this translated sentence is even better than the original poem. Since the “lonely town” in this poem is the image of those soldiers, they were like the lonely town, lost in the high mountains in the northwest China.<br /> <br /> As for the third sentence, “羌笛何须怨杨柳” shows the meaning that against the backdrop of this desolate environment, the Qiang Flute, in the meantime, played to the tune of “Picking up a Willow Branch”, made soldiers on the border feel homesick(Huang Bingxiang, 1991:65). In this sentence, “羌笛” refers to a musical instrument, a kind of flute popular in the frontier in ancient times and being called Qiang Flute because it rooted in the Qiang ethnic minority. And “怨” translated into “complain” is very appropriate and it can exactly express the feeling of the poet. Because the Chinese word for “willow” (柳) sounds similar to the word for “stay” (留) in Chinese, ancient Chinese people often gave a gift of willow as a token of remembrance when parting. While hearing the plaintive song with melancholy, those solders were so upset and the poet did not know how to comfort them, instead he can only complain that why the Qiang Flute always play sorrowful musics.<br /> <br /> In the last sentence, “春风不度玉门关” shows that vernal wind will never reach the Gate of Jade. And in Mr.Xu’ translation, he completely conveys the meaning of the original poem. And “vernal wind” is an image of the emperor at that time, because the emperor’s care could not reach there, outside the Gate of Jade in such a dangerous and terrible environment. The poet expressed his complaints that the emperor did not care about the life and death of the frontier soldiers guarding the Gate of Jade and couldn’t sympathize with them(Sheng Dalin, 2020:52).<br /> <br /> In this translation, the translator have conveyed not only the surface meaning, but also the deep feeling of the poet by using some methods, such as personification. With this, those foreigners can have a better understanding about this poem, about the hard life of those frontier soldiers. Through this translation, we can see the terrible environment of the frontier, soldiers’ longing for home, and the poet’s helpless and complaints about the emperor.<br /> <br /> ===4.Beauty in Sound===<br /> One of the reasons for the great artistic charm of Chinese Poetry in the Tang Dynasty is that it pursues the beauty of sound and rhyme, pays attention to the level and oblique tones (The tones in ancient Chinese are divided into four tones: “Level tone” refers to the flatness of the four tones; “Oblique tone” refers to the other three tones), and makes good use of reduplication of words. However, the translation of cross-cultural literary works involves two completely different linguistic symbol systems and phonological combinations. For example, in poetry, one of the compatible combinations of some thoughts and artistic conception in the culture of China is a rhyme, which is a kind of well-arranged prose with musical beauty. However, when the combination of language symbols in the English culture is transformed, its arrangement loses all the rhythmic and music aesthetic feelings in the original text, thus resulting in the loss of cultural aesthetic of rhyme (Bao Tongfa, 2003:55).<br /> <br /> In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:<br /> <br /> <br /> 袅袅古堤边，青青一树烟。<br /> <br /> 若为丝不断，留取系郎船。（Xu Yuanchong, 2011:525）<br /> <br /> <br /> Your long, long branches wave by riverside,<br /> <br /> Your green, green leaves like wreaths of smoke afloat.<br /> <br /> “Make ropes unbreakable of them,” she sighed,<br /> <br /> “To tie up my beloved one’s parting boat!”(Xu Yuanchong, 2011:211)<br /> <br /> <br /> This is a poem of four line with each containing five characters, and it is named as “五言绝句” in Chinese. This kind form of poem “ five-character quatrain” was not the creation of poets in the Tang Dynasty, but originated from the yuefu poems of the Han and Wei dynasties. Due to the limitation of the number of words, compared with other poetic genres, the “five-character quatrain”should be more concise and generalized in terms of its language and expression techniques, which makes it more difficult to create. Therefore, this kind of poem naturally become the most brilliant pearl in the poetry of Tang Dynasty and is also the essence of that time. (Wang Quan, 2015:125)<br /> <br /> The poem in Chinese the first two sentences rhyme with “an” as “边” and “烟” , and the last two sentences rhyme with “ uan” as “断” and “船”. And each sentence of them is composed with five characters, making the whole poem very catchy, rhythmic and melodious when we read it. In the translation version, Professor Xu Yuanchong uses intersentence rhyming, the first and third sentences rhyme with “aɪd” as “riverside” and “sighed” while the second and the fourth sentence rhyme with “oʊt” as “afloat” and “boat”. For “an” and “aɪd”sounds, we just have to open our mouth slightly, but for the other two sounds we have to keep our mouth wide. Taking into account the similarity of rhyme in translation can make the translated poem closer to the original poem in terms of rhyme and retain the beauty of the original poem as much as possible.<br /> <br /> The first two sentences describe a scene that on both sides of the old embankments, there are green willows dancing with the wind. Actually the poet didn’t mentioned the willow directly but made a metaphor. In the wind, the bountiful branches of willows dance in the wind which are just like a wisp of smoke. In the poem, the poet uses the reduplication “袅袅” and “青青” and in the translation Professor Xu focuses on reproducing the rhythmic beauty of the original poem, by using the reduplication “long, long” and “green, green” making the two sentences very rhythmic. In the last two sentences, in poet shows the psychological activities of the heroine, but in the translation, these two sentences are directly expressed as the sigh of the heroine. In all, this translation greatly retains the rhythmic beauty of the original poem, making it also reads rhythmically.<br /> <br /> ===5.Beauty in Form===<br /> Tang poetry is famous for the metrical, neat antithesis, the length of the former sentences and the latter ones being the same, and scattered well. Form beauty mainly refers to the consistency of lines and stanzas between the translated poem and the original poem. When translating, the translator should try to make the target language readers read the translation with the same effect. If the translated poem and the original poem have the same number of lines, the same number of sections, and the same form in terms of sentence length and antithesis, the beauty of the form of the original poem is basically reflected (Jiang Mingyu, 2020:139). Actually, translation is a kind of imitation, we should do our best to keep the original entity be transformed into the thing that can be as similar as possible, and it doesn’t simply depend on one side but on the whole aspects which it will be seen. However, in the process of translation, we should not blindly pursue the same form, because this rigid correspondence is likely to cause great changes in other aspects of the poem, resulting in great loss to the meaning and sound of the original poem. So according to professor Xu’ “three-beauty” theory, it would be better for those translators to adjust the formal features of the poem to make it consistent with the original poem to the greatest extent without compromising the meaning and rhythm of the original poem. Personally, a certain degree of innovation in the form is not undesirable.Take Professor Xu’s English translation of Tang Dynasty poem “Song Of The Pating Son” as an example:<br /> <br /> <br /> 慈母手中线，游子身上衣。<br /> <br /> 临行密密缝，意恐迟迟归。<br /> <br /> 谁言寸草心，报得三春晖？（Xu Yuanchong, 2011:522）<br /> <br /> <br /> From the threads a mother’s hands weaves,<br /> <br /> A gown for parting son is made.<br /> <br /> Sewn stitch by stitch before he leaves,<br /> <br /> For fear his return be delayed.<br /> <br /> Such kindness as young grass receives,<br /> <br /> From the warm sun can be repaid? (Xu Yuanchong, 2011:208)<br /> <br /> <br /> This poem, composed of six lines and thirty characters, expresses the poet’s respect, love and gratitude to his mother, which has resonated with countless people from ancient times till now. The first two sentences describe a scene in which the mother, holding a needle and thread, makes new clothes for her child, which shows the mother’s love in profile. The third and fourth sentences describe the mother’s actions and psychological feelings respectively.<br /> <br /> The beauty of form in poetry also has antithesis, that is, a pair of sentences with basically the same or similar grammatical structure and exactly the same number of syllables, to express a opposite or relative meaning. Chinese classical poetry pays much attention to antithesis. In the original poem, “慈母” and “游子”、 “手中线” and “身上衣”、 “密密缝” and “迟迟归”、 “寸草心”and “三春晖” all respectively form antitheses, making the structure of the poem very neat. “慈母” refers to a loving mother and “游子” means sons and daughters who are far away from their parents being the subjects of this sentences. While for “手中线”and “身上衣”, “手”and “身” are both the organ of people’s body, “中” and “上” are both directional nouns, and “线”and “衣” are both nouns, in addition clothes are made of thread. Then “密密”and “迟迟” use the reduplication to embellish the following verbs “逢”and “归”. As for“寸草心”and “三春晖”, they respectively refer to children’s gratitude to their parents and mother’s love. <br /> <br /> In the translation, professor Xu didn’t translate directly in the order of the original text but instead translated the first, fourth and last sentence, by putting the preposition at the beginning and the second and fifth sentences use the form of “article + noun” to start the sentences. What’s more, the verb of each sentence is placed at the end of the sentence, and the preposition “from” is used as the beginning of the first and last sentence, which makes the whole poem echo of fore and aft in structure and makes the poem look more complete. In addition, professor Xu adopted the expression of one line and one sentence conforming to the form of English poetry, and translated each clause in the original poem into one line, with each line having eight to ten syllables. <br /> <br /> Through his superb translation skills, by adjusting the original order of the poem, Xu Yuanchong presents the very concise meaning of the original poem to the readers well. As I have mentioned before, it’s very hard for translators to show one hundred percent of the beauty of the original poem. But in fact, in the process of translation, the three aspects of beauty should be considered together. They are not the difference in order, but the difference in the main degree.<br /> <br /> ===6.Conclusion===<br /> Every act of translation is mingled with some problems and challenges. Poetry translation may be more challenging than other types of translation due to the importance of both form and content in the type of interpretation and response evoked in the audience. In poetry translation one of the most essential issues to be addressed by the translator is whether to prefer the form over the content or vice versa(Leila, 2011:3).As a translation standard, the proposal of “three-beauties” has a very positive significance. It is Xu Yuanchong’s contribution to poetry translation theory. His creativity can be described as a link between the past and the future. It can be said that Mr. Xu Yuanchong’s originality (Pu Hongying, 2010:101). The “three-beauty” theory promoted by Xu Yuanchong, and used in the process of poem translation, is a translation theory of great reference value. In the process of poetry translation, we should follow the “three-beauty” theory. First of all, we should have a relatively rich background knowledge, enough to support our understanding of the meaning of the original poem at all levels. Secondly, in the process of translation, we do not consider meaning beauty first and then the other two aspects, but consider the three aspects at the same time, and put the beauty of sense in a more important position, followed by sound and form. It will help translators a lot in poetry translation by using the “three-beauty” theory. Wellek and Warren, as far back as in 1942, said that “Meanings, context, and ‘tone’ are needed to turn linguistic sounds into artistic facts.” This claim is based on the idea that poetry is a series of sounds out of which arises a meaning. Sounds are arranged according to stress and pitch, recurrence, position of rhythmical units and other elements that together furnish what has misleadingly been called the “musicality” of a poem (Marta, 1998:24). There are still some similarities between Chinese and English poem translation, both focusing on meaning and sound.<br /> <br /> But at the same time, there are of course some limitations in the “three-beauty” theory. According to cognitive linguistics, we can know that every language is based on the reality, and then through our cognitive pattern, we can form the language we actually use. What makes sense is that we human beings of different country, we have different cognitive patterns and even every individual has a special way to know the world. As for every language is according to the characteristic of the elements such as phonetics, grammar and vocabulary, according to the characteristic of the structure of a set of complete system, so the Chinese and English two languages in pronunciation, vocabulary, grammar, discourse, pragmatics have significant differences in various aspects (Pu Hongying, 2010:101). So the “three-beauty” theory which we focus on in Chinese poetry is not necessarily the same “three-beauty” of the poetry in English. As a result, it seems impossible to achieve the “three-beauty” standard entirely in concrete practice.<br /> <br /> ===References===<br /> Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版)Journal of Yanshan University (Philosophy and Social Science Edition)--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.03:55-58.<br /> <br /> He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）Literary Education--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.484 (10）:116-117.<br /> <br /> Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横Social Science Column,No.2:64-66.<br /> <br /> Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上)Literary Education,No.517(09):138-139.<br /> <br /> Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报Journal of Shangqiu Normal College,No.36(07):49-57.<br /> <br /> Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of &quot;Three Beauties&quot;)[J].伊犁师范学院学报(社会科学版)Journal of Ili Normal College,No.01:99-101.<br /> <br /> Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版)Journal of Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.01:124-128<br /> <br /> Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC)，2006.<br /> <br /> Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社Five Continents Communication Press--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC).<br /> <br /> Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of &quot; beauty in meaning&quot; in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.<br /> <br /> Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版)Journal of Heilongjiang Institute of Technology--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.20(10):129-133.<br /> <br /> Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.<br /> <br /> Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari.(2008) &quot;Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse.&quot; Journal of Language &amp; Translation 9.1,pp.7-40.<br /> <br /> Lefevere, André. (1975) “The translation of poetry: Some observations and a model.” Comparative Literature Studies,pp.384-392.<br /> <br /> Niknasab, Leila, and Elham Pishbin.(2011) &quot;On the translation of poetry: A look at Sohrab Sepehri's traveler.&quot; SKASE Journal of Translation and Interpretation 5.1, pp.2-23.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_3&diff=132779 2021-12-14T05:18:58Z

<p>Wu Yinghong: /* References */</p> <hr /> <div>'''3 邱婷婷(On Xu Yuanchong’s poetry translation from “Three-Beauty” Theory -- Taking ''Three Hundred Tang Poems'' as an example)'''<br /> [[Aesth_App_EN_3]]<br /> ===Abstract===<br /> Chinese classical poetry has a long history and is full of romance. Its language is concise, its content is rich and diverse, its form is harmonious and unified, and its rhythm is beautiful, which makes it interesting to read. Poetry, as the highest form of expression in literature, has always been the best way for the literati to express their feelings, so the translation of poetry also puts forward higher requirements for the translator. Xu Yuanchong's theory of three principles provides a new direction and new thinking for the translation of poetry, which has a great guiding role in the practice of poetry translation.The Tang Dynasty was the most prosperous period of Chinese culture, and its poets created a large number of masterpieces with different styles and rich emotions. ''Three Hundred Tang Poems'' translated into English by Xu Yuanchong expressed the content and emotion of the poem vividly. This paper will analyze the “beauty” in Xu’s poetry translation from the three perspectives of “beauty of meaning”, “beauty of sound” and “beauty of form”.<br /> ===Key words===<br /> “three-beauty”theory; beauty in sense; beauty in sound; beauty in form<br /> ===题目===<br /> 从“三美论”浅析许渊冲的诗歌翻译—以《唐诗三百首》为例<br /> <br /> ===摘要===<br /> 中国古典诗歌历史悠久且颇具浪漫气息，其语言凝练，内容丰富多样，形式和谐统一，韵律优美，阅读中耐人寻味。诗歌，文学的最高表达形式之一，长久以来一直是文人抒发情感的最佳方式，因此对于诗歌的翻译,对翻译者也提出了更高的要求。许渊冲的三原则理论给诗歌的翻译提供了新的方向，新的思维，对于诗歌的翻译实践活动有很大的指导作用。唐朝是中国文化最为繁荣昌盛的时期，唐代诗人创作了大量风格迥异，情感丰富的名篇佳作。许渊冲英译的《唐诗三百首》，将诗中的内容、情感传神地表达了出来。本文将从许渊冲提出的“三美论”，即“意美”、“音美”、“形美”这三个角度来赏析其诗歌翻译中的“美”。<br /> ===关键词===<br /> “三美”理论；意美；音美；形美<br /> <br /> ===1. Introduction ===<br /> Xu Yuanchong (April 18, 1921 -- June 17, 2021), was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of Southwest Associated University in his early years. He has been engaged in literary translation for more than 60 years, covering Chinese, English, French and other languages, focusing on the translation of ancient Chinese poetry into English, forming the method and theory of rhyming style translation of poetry, known as “the only person to translate poetry into English and French”. As an outstanding translator in contemporary China, he plays an important role in promoting Chinese cultural works and letting them be known by so many foreigners. In 2010, Xu won the “Lifetime Achievement Award of Chinese Translation Culture”. On August 2, 2014, Xu Yuanchong was awarded the “Northern Lights” Outstanding Literary Translation Award, one of the highest awards in the international translation field, and was the first Asian translator to receive this award (Zhou Rongrong,2020:129). Mr.Xu Yuanchong plays an important role in Chinese translation circle, not only for his numerous translation masterpieces but also for his translation theory, which has a great influence in latter translators.<br /> <br /> Poetry, according to Alexander Pope, has been said to consist of “what oft was thought, but ne’er so well expressed” . Thus, poetry seems to lie on a continuum with one end attached to human feelings and emotions, which can only be sensed, not given expression to; for how can we say how much we enjoyed a poem? The other side attached to his means of communication, i.e. language; hence the controversial relationship between language and mind (Dastjerdi et. al, 2008:8).Most current translations, versions , and imitations of poetry have two main features in common:they both expand and compress the source text. Compression is mainly achieved through the use of compound-words or paraphrase and frequently camouflaged as “explanation,” “interpretation,” or even “improvement.” Expansion is achieved through the use of exaggeration, explicitness, and padding, and camouflaged in much the same way(André, 1975:384). And to some extent, the original beauty would be decreased by such methods without an orderly theory. The translation theory of “three-beauty” determines that Xu Yuanchong be consistent with the principle of “pursuing beauty” over “expressing faithfully” in his translation practice, attaches importance to the “beauty”of poetry and gives full play to his creativity. Xu once said that “The main purpose of poetry translation is not to make reputation of the poet letting him being remembered by the people of future generations, but to enable people to share the poet’s graceful feelings”; “I think translating poems should be ingenious and creative, he added.(He Xiaoli, 2019:117)<br /> <br /> ''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.<br /> <br /> Three Hundred Tang Poems is a very popular anthology of Tang poetry. The Tang dynasty (618-907) was the golden age of Chinese poetry, with many famous poets and more than 50,000 poems. The book Three Hundred Tang Poems (Chinese and English), completed by Xu Yuanzhong, was published by China International Translation Press in 2007. And the theory of &quot;Three Beauties&quot; is often used in the translation of &quot;Three Hundred Tang Poems&quot;. Therefore, it is highly practical to study Xu Yuanzhong's translation of Three Hundred Tang Poems from the perspective of his translation theory &quot;Three Beauties&quot;. This paper studies and evaluates the translation of the Three Hundred Tang Poems on the basis of the principle of &quot;Three Beauties&quot;, and divides the discussion into four main parts: the explanation of the theory of &quot;Three Beauties&quot;, the evaluation from the scope of the beauty of meaning, the evaluation from the scope of the beauty of sound, and the evaluation from the scope of the beauty of form.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:14, 14 December 2021 (UTC)<br /> <br /> ===2.“Three-Beauty” Theory===<br /> The theory of “three-beauty” was first put forward by Xu Yuanchong in his letter to the aesthetician Zhu Guangqian(a famous Chinese Modern and contemporary aesthetician, literary theorist, educator, translator) in 1979, and has been continuously applied in subsequent translation practices. Xu Yuanchong once said:“Western translation stresses equivalence, advocating word for word translation, almost 90% of their written vocabulary is equivalent. Chinese is different from other languages in that only 50% of words are equivalent to words. Although equivalence does not violate objective regularity, it does not give play to subjective initiative. Without distorting the author's meaning, translation must reflect the connotation, essence and soul of a national culture”(Zhou Rongrong,2020:131). It is known to all that Xu won his national reputation mainly from his poetry translation practice and his initiation of the principle of “ three-beauty”(which refers to beauty in sense, sound and form). It’s of great significance to the practice of poetry translation, and might be assumed as a milestone in the field of poetry translation(Guo Zhuzhang,1997).<br /> <br /> Actually the principle of “ three-beauty” was initially put forward in the essay “From Language to Artical”by Lu Xun( the great writer, thinker and revolutionary in China). He stated “in learning a Chinese character, three aspects should be taken into consideration, namely, ‘the sense, the sound and the form’,as to article writing, beauty in three aspects should likewise be taken into account: for one thing, to achieve beauty in sense to move reader’s heart; the second, to achieve beauty in sound to suffice reader’s ears; finally, to achieve beauty in form to appeal to reader’s eyes(Guo Zhuzhang,1997). As the principles were only applied in language and character, Xu employed it to poetry translation after having a comprehend understanding and analysis of the original principles. What’s more, Xu published a series of articles to further expound the principle of “three-beauty”.<br /> <br /> “with regard to ‘three-beauty’, beauty in sense is of the greatest significance, therefore should be put in the first position; beauty in sound is of less important and hence is placed in the second place; whereas beauty in form is of the least magnitude and ought to laid in the third place.” “We should exert ourselves to convey the beauty in sound of the original work under the provision of faithful reproduction of the original beauty in sense; furthermore, we should try our utmost to convey the beauty in form of the source text under the provision of both the reproduction of the original beauty in sense and in sound; in a word, we should ake the greatest endeavor to reproduce the original beauty in sense, in sound and in form comprehensively”(Xu Yuanchong, 1997).<br /> <br /> This is the situation that you can handle the three aspects simultaneously, however there are a host of texts that are very complicated and you can not make it work. So under this circumstance, Xu further sates that:“If ‘three-beauty’ cannot be achieved simultaneously, the resemblance in form can be ignored, so is the resemblance in sound; nevertheless, the conveyance of original beauty in sense and in sound should be retained in whatever circumstance (Xu Yuanchong,1997). <br /> <br /> According to his statement, we can draw a conclusion that when we are translating something especially poetry, we should pay attention to the three aspects: sense, sound and form. And the beauty of sense occupies the first place, sound the second, form the third. In other words, the meaning of the poetry is the most important thing that we can not violate it in order to achieve other effects. On the condition that we do not affect the meaning, we can take the sound into consideration. As very different from other genres of articles, poetry pays much attention to the rhythm which can be read in a catchy and graceful way, making people easy to experience the feeling of the poets. And the form, after considering the sense and sound, the form is also important.<br /> <br /> As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)<br /> <br /> ===3.Beauty in Sense===<br /> Mr. Xu Yuanchong believes that beauty in sense is the most important task in poetry translation and it is also the core of the “three-beauty” theory. As mentioned before, when we are doing poetry translation, we have to pay our attention to the sense of the poem at first, because it is the most fundamental aspect. In sense translation, it is not only a simple and direct translation of the meaning of the poem, but also the deep meaning that the poet wants to express while conveying the surface meaning. And for the deep meaning, the deep meaning of a poetry is much difficult to express succinctly, since there are many images in a poetry. As poetry is a literary form that conveys the poet’s thoughts and feelings, its content is mostly abstract, so in this case, translation will encounter great difficulties.<br /> Beauty in sense, in short, means that the translated poem should be faithful in content, smooth in language expression, and deeply convey the beauty of the artistic conception of the original poem, so that the readers of the translated poem can have the same spiritual shock and touching as the readers of the original poem (He Xiaoli, 2019:116) . Therefore, it is very important for the translator to retain the artistic conception of the original poem. Take professor Xu’s English translation of tang dynasty poem “Out of the Great Wall”, written by Wang Zhihuan as an example:<br /> <br /> <br /> 黄河远上白云间，一片孤城万仞山。<br /> <br /> 羌笛何须怨杨柳，春风不度玉门关。（Xu Yuanchong, 2011:438）<br /> <br /> <br /> The Yellow River rises to the white cloud;<br /> <br /> The lonely town is lost amid the mountains proud.<br /> <br /> Why should the Mongol flute complain no willows grow?<br /> <br /> Beyond the Gate of Jade no vernal wind will blow. (Xu Yuanchong, 2011:64) <br /> <br /> <br /> This poem was written at the time when the poet first arrived in Liang Zhou( ancient northwest capital of China), facing the Yellow River and the vast scenery of the border city, at the same time, hearing the song “Snapping Willows” and was inspired to write this poem, which expresses the feeling of missing home of those soldiers who guard the frontier of their country. The first two lines of the poem describe the vast scenery in the northwest. Mr. Xu used “rise” to present the “远上”, although it describes the Yellow River flowing away into the distance, as if towards the sky, the word “rise” can also describe the magnificent sight of the Yellow River surging forward. <br /> <br /> Then he described “the lonely town ‘is lost amid’ the mountains ‘proud’ ”. Actually in the original poem, the poet only listed the lonely town and the high mountains. Actually, “仞” is an unit of length in ancient Chinese, and “万仞” shows the amazing height of the mountains.In Xu Yuanchong’s translation, both the lonely town and the high mountains are personified. The lonely town is lost in the proud and high mountains like human being. On the basis of accurately conveying the surface meaning of the original poem, the translator also vividly expresses the poet’s emotion by means of personifying the image. To some extent, this translated sentence is even better than the original poem. Since the “lonely town” in this poem is the image of those soldiers, they were like the lonely town, lost in the high mountains in the northwest China.<br /> <br /> As for the third sentence, “羌笛何须怨杨柳” shows the meaning that against the backdrop of this desolate environment, the Qiang Flute, in the meantime, played to the tune of “Picking up a Willow Branch”, made soldiers on the border feel homesick(Huang Bingxiang, 1991:65). In this sentence, “羌笛” refers to a musical instrument, a kind of flute popular in the frontier in ancient times and being called Qiang Flute because it rooted in the Qiang ethnic minority. And “怨” translated into “complain” is very appropriate and it can exactly express the feeling of the poet. Because the Chinese word for “willow” (柳) sounds similar to the word for “stay” (留) in Chinese, ancient Chinese people often gave a gift of willow as a token of remembrance when parting. While hearing the plaintive song with melancholy, those solders were so upset and the poet did not know how to comfort them, instead he can only complain that why the Qiang Flute always play sorrowful musics.<br /> <br /> In the last sentence, “春风不度玉门关” shows that vernal wind will never reach the Gate of Jade. And in Mr.Xu’ translation, he completely conveys the meaning of the original poem. And “vernal wind” is an image of the emperor at that time, because the emperor’s care could not reach there, outside the Gate of Jade in such a dangerous and terrible environment. The poet expressed his complaints that the emperor did not care about the life and death of the frontier soldiers guarding the Gate of Jade and couldn’t sympathize with them(Sheng Dalin, 2020:52).<br /> <br /> In this translation, the translator have conveyed not only the surface meaning, but also the deep feeling of the poet by using some methods, such as personification. With this, those foreigners can have a better understanding about this poem, about the hard life of those frontier soldiers. Through this translation, we can see the terrible environment of the frontier, soldiers’ longing for home, and the poet’s helpless and complaints about the emperor.<br /> <br /> ===4.Beauty in Sound===<br /> One of the reasons for the great artistic charm of Chinese Poetry in the Tang Dynasty is that it pursues the beauty of sound and rhyme, pays attention to the level and oblique tones (The tones in ancient Chinese are divided into four tones: “Level tone” refers to the flatness of the four tones; “Oblique tone” refers to the other three tones), and makes good use of reduplication of words. However, the translation of cross-cultural literary works involves two completely different linguistic symbol systems and phonological combinations. For example, in poetry, one of the compatible combinations of some thoughts and artistic conception in the culture of China is a rhyme, which is a kind of well-arranged prose with musical beauty. However, when the combination of language symbols in the English culture is transformed, its arrangement loses all the rhythmic and music aesthetic feelings in the original text, thus resulting in the loss of cultural aesthetic of rhyme (Bao Tongfa, 2003:55).<br /> <br /> In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:<br /> <br /> <br /> 袅袅古堤边，青青一树烟。<br /> <br /> 若为丝不断，留取系郎船。（Xu Yuanchong, 2011:525）<br /> <br /> <br /> Your long, long branches wave by riverside,<br /> <br /> Your green, green leaves like wreaths of smoke afloat.<br /> <br /> “Make ropes unbreakable of them,” she sighed,<br /> <br /> “To tie up my beloved one’s parting boat!”(Xu Yuanchong, 2011:211)<br /> <br /> <br /> This is a poem of four line with each containing five characters, and it is named as “五言绝句” in Chinese. This kind form of poem “ five-character quatrain” was not the creation of poets in the Tang Dynasty, but originated from the yuefu poems of the Han and Wei dynasties. Due to the limitation of the number of words, compared with other poetic genres, the “five-character quatrain”should be more concise and generalized in terms of its language and expression techniques, which makes it more difficult to create. Therefore, this kind of poem naturally become the most brilliant pearl in the poetry of Tang Dynasty and is also the essence of that time. (Wang Quan, 2015:125)<br /> <br /> The poem in Chinese the first two sentences rhyme with “an” as “边” and “烟” , and the last two sentences rhyme with “ uan” as “断” and “船”. And each sentence of them is composed with five characters, making the whole poem very catchy, rhythmic and melodious when we read it. In the translation version, Professor Xu Yuanchong uses intersentence rhyming, the first and third sentences rhyme with “aɪd” as “riverside” and “sighed” while the second and the fourth sentence rhyme with “oʊt” as “afloat” and “boat”. For “an” and “aɪd”sounds, we just have to open our mouth slightly, but for the other two sounds we have to keep our mouth wide. Taking into account the similarity of rhyme in translation can make the translated poem closer to the original poem in terms of rhyme and retain the beauty of the original poem as much as possible.<br /> <br /> The first two sentences describe a scene that on both sides of the old embankments, there are green willows dancing with the wind. Actually the poet didn’t mentioned the willow directly but made a metaphor. In the wind, the bountiful branches of willows dance in the wind which are just like a wisp of smoke. In the poem, the poet uses the reduplication “袅袅” and “青青” and in the translation Professor Xu focuses on reproducing the rhythmic beauty of the original poem, by using the reduplication “long, long” and “green, green” making the two sentences very rhythmic. In the last two sentences, in poet shows the psychological activities of the heroine, but in the translation, these two sentences are directly expressed as the sigh of the heroine. In all, this translation greatly retains the rhythmic beauty of the original poem, making it also reads rhythmically.<br /> <br /> ===5.Beauty in Form===<br /> Tang poetry is famous for the metrical, neat antithesis, the length of the former sentences and the latter ones being the same, and scattered well. Form beauty mainly refers to the consistency of lines and stanzas between the translated poem and the original poem. When translating, the translator should try to make the target language readers read the translation with the same effect. If the translated poem and the original poem have the same number of lines, the same number of sections, and the same form in terms of sentence length and antithesis, the beauty of the form of the original poem is basically reflected (Jiang Mingyu, 2020:139). Actually, translation is a kind of imitation, we should do our best to keep the original entity be transformed into the thing that can be as similar as possible, and it doesn’t simply depend on one side but on the whole aspects which it will be seen. However, in the process of translation, we should not blindly pursue the same form, because this rigid correspondence is likely to cause great changes in other aspects of the poem, resulting in great loss to the meaning and sound of the original poem. So according to professor Xu’ “three-beauty” theory, it would be better for those translators to adjust the formal features of the poem to make it consistent with the original poem to the greatest extent without compromising the meaning and rhythm of the original poem. Personally, a certain degree of innovation in the form is not undesirable.Take Professor Xu’s English translation of Tang Dynasty poem “Song Of The Pating Son” as an example:<br /> <br /> <br /> 慈母手中线，游子身上衣。<br /> <br /> 临行密密缝，意恐迟迟归。<br /> <br /> 谁言寸草心，报得三春晖？（Xu Yuanchong, 2011:522）<br /> <br /> <br /> From the threads a mother’s hands weaves,<br /> <br /> A gown for parting son is made.<br /> <br /> Sewn stitch by stitch before he leaves,<br /> <br /> For fear his return be delayed.<br /> <br /> Such kindness as young grass receives,<br /> <br /> From the warm sun can be repaid? (Xu Yuanchong, 2011:208)<br /> <br /> <br /> This poem, composed of six lines and thirty characters, expresses the poet’s respect, love and gratitude to his mother, which has resonated with countless people from ancient times till now. The first two sentences describe a scene in which the mother, holding a needle and thread, makes new clothes for her child, which shows the mother’s love in profile. The third and fourth sentences describe the mother’s actions and psychological feelings respectively.<br /> <br /> The beauty of form in poetry also has antithesis, that is, a pair of sentences with basically the same or similar grammatical structure and exactly the same number of syllables, to express a opposite or relative meaning. Chinese classical poetry pays much attention to antithesis. In the original poem, “慈母” and “游子”、 “手中线” and “身上衣”、 “密密缝” and “迟迟归”、 “寸草心”and “三春晖” all respectively form antitheses, making the structure of the poem very neat. “慈母” refers to a loving mother and “游子” means sons and daughters who are far away from their parents being the subjects of this sentences. While for “手中线”and “身上衣”, “手”and “身” are both the organ of people’s body, “中” and “上” are both directional nouns, and “线”and “衣” are both nouns, in addition clothes are made of thread. Then “密密”and “迟迟” use the reduplication to embellish the following verbs “逢”and “归”. As for“寸草心”and “三春晖”, they respectively refer to children’s gratitude to their parents and mother’s love. <br /> <br /> In the translation, professor Xu didn’t translate directly in the order of the original text but instead translated the first, fourth and last sentence, by putting the preposition at the beginning and the second and fifth sentences use the form of “article + noun” to start the sentences. What’s more, the verb of each sentence is placed at the end of the sentence, and the preposition “from” is used as the beginning of the first and last sentence, which makes the whole poem echo of fore and aft in structure and makes the poem look more complete. In addition, professor Xu adopted the expression of one line and one sentence conforming to the form of English poetry, and translated each clause in the original poem into one line, with each line having eight to ten syllables. <br /> <br /> Through his superb translation skills, by adjusting the original order of the poem, Xu Yuanchong presents the very concise meaning of the original poem to the readers well. As I have mentioned before, it’s very hard for translators to show one hundred percent of the beauty of the original poem. But in fact, in the process of translation, the three aspects of beauty should be considered together. They are not the difference in order, but the difference in the main degree.<br /> <br /> ===6.Conclusion===<br /> Every act of translation is mingled with some problems and challenges. Poetry translation may be more challenging than other types of translation due to the importance of both form and content in the type of interpretation and response evoked in the audience. In poetry translation one of the most essential issues to be addressed by the translator is whether to prefer the form over the content or vice versa(Leila, 2011:3).As a translation standard, the proposal of “three-beauties” has a very positive significance. It is Xu Yuanchong’s contribution to poetry translation theory. His creativity can be described as a link between the past and the future. It can be said that Mr. Xu Yuanchong’s originality (Pu Hongying, 2010:101). The “three-beauty” theory promoted by Xu Yuanchong, and used in the process of poem translation, is a translation theory of great reference value. In the process of poetry translation, we should follow the “three-beauty” theory. First of all, we should have a relatively rich background knowledge, enough to support our understanding of the meaning of the original poem at all levels. Secondly, in the process of translation, we do not consider meaning beauty first and then the other two aspects, but consider the three aspects at the same time, and put the beauty of sense in a more important position, followed by sound and form. It will help translators a lot in poetry translation by using the “three-beauty” theory. Wellek and Warren, as far back as in 1942, said that “Meanings, context, and ‘tone’ are needed to turn linguistic sounds into artistic facts.” This claim is based on the idea that poetry is a series of sounds out of which arises a meaning. Sounds are arranged according to stress and pitch, recurrence, position of rhythmical units and other elements that together furnish what has misleadingly been called the “musicality” of a poem (Marta, 1998:24). There are still some similarities between Chinese and English poem translation, both focusing on meaning and sound.<br /> <br /> But at the same time, there are of course some limitations in the “three-beauty” theory. According to cognitive linguistics, we can know that every language is based on the reality, and then through our cognitive pattern, we can form the language we actually use. What makes sense is that we human beings of different country, we have different cognitive patterns and even every individual has a special way to know the world. As for every language is according to the characteristic of the elements such as phonetics, grammar and vocabulary, according to the characteristic of the structure of a set of complete system, so the Chinese and English two languages in pronunciation, vocabulary, grammar, discourse, pragmatics have significant differences in various aspects (Pu Hongying, 2010:101). So the “three-beauty” theory which we focus on in Chinese poetry is not necessarily the same “three-beauty” of the poetry in English. As a result, it seems impossible to achieve the “three-beauty” standard entirely in concrete practice.<br /> <br /> ===References===<br /> Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版)Journal of Yanshan University (Philosophy and Social Science Edition)--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.03:55-58.<br /> <br /> He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）Literary Education--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.484 (10）:116-117.<br /> <br /> Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横Social Science Column,No.2:64-66.<br /> <br /> Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上)Literary Education,No.517(09):138-139.<br /> <br /> Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报Journal of Shangqiu Normal College,No.36(07):49-57.<br /> <br /> Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of &quot;Three Beauties&quot;)[J].伊犁师范学院学报(社会科学版)Journal of Ili Normal College,No.01:99-101.<br /> <br /> Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版)Journal of Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.01:124-128<br /> <br /> Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC)，2006.<br /> <br /> Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社Five Continents Communication Press--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC).<br /> <br /> Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of &quot; beauty in meaning&quot; in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.<br /> <br /> Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版)Journal of Heilongjiang Institute of Technology--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.20(10):129-133.<br /> <br /> Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.<br /> <br /> Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari.(2008) &quot;Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse.&quot; Journal of Language &amp; Translation 9.1,pp.7-40.<br /> <br /> Lefevere, André. (1975) “The translation of poetry: Some observations and a model.” Comparative Literature Studies,pp.384-392.<br /> <br /> Niknasab, Leila, and Elham Pishbin.(2011) &quot;On the translation of poetry: A look at Sohrab Sepehri's traveler.&quot; SKASE Journal of Translation and Interpretation 5.1, pp.2-23.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_3&diff=132777 2021-12-14T05:14:48Z

<p>Wu Yinghong: /* 1. Introduction */</p> <hr /> <div>'''3 邱婷婷(On Xu Yuanchong’s poetry translation from “Three-Beauty” Theory -- Taking ''Three Hundred Tang Poems'' as an example)'''<br /> [[Aesth_App_EN_3]]<br /> ===Abstract===<br /> Chinese classical poetry has a long history and is full of romance. Its language is concise, its content is rich and diverse, its form is harmonious and unified, and its rhythm is beautiful, which makes it interesting to read. Poetry, as the highest form of expression in literature, has always been the best way for the literati to express their feelings, so the translation of poetry also puts forward higher requirements for the translator. Xu Yuanchong's theory of three principles provides a new direction and new thinking for the translation of poetry, which has a great guiding role in the practice of poetry translation.The Tang Dynasty was the most prosperous period of Chinese culture, and its poets created a large number of masterpieces with different styles and rich emotions. ''Three Hundred Tang Poems'' translated into English by Xu Yuanchong expressed the content and emotion of the poem vividly. This paper will analyze the “beauty” in Xu’s poetry translation from the three perspectives of “beauty of meaning”, “beauty of sound” and “beauty of form”.<br /> ===Key words===<br /> “three-beauty”theory; beauty in sense; beauty in sound; beauty in form<br /> ===题目===<br /> 从“三美论”浅析许渊冲的诗歌翻译—以《唐诗三百首》为例<br /> <br /> ===摘要===<br /> 中国古典诗歌历史悠久且颇具浪漫气息，其语言凝练，内容丰富多样，形式和谐统一，韵律优美，阅读中耐人寻味。诗歌，文学的最高表达形式之一，长久以来一直是文人抒发情感的最佳方式，因此对于诗歌的翻译,对翻译者也提出了更高的要求。许渊冲的三原则理论给诗歌的翻译提供了新的方向，新的思维，对于诗歌的翻译实践活动有很大的指导作用。唐朝是中国文化最为繁荣昌盛的时期，唐代诗人创作了大量风格迥异，情感丰富的名篇佳作。许渊冲英译的《唐诗三百首》，将诗中的内容、情感传神地表达了出来。本文将从许渊冲提出的“三美论”，即“意美”、“音美”、“形美”这三个角度来赏析其诗歌翻译中的“美”。<br /> ===关键词===<br /> “三美”理论；意美；音美；形美<br /> <br /> ===1. Introduction ===<br /> Xu Yuanchong (April 18, 1921 -- June 17, 2021), was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of Southwest Associated University in his early years. He has been engaged in literary translation for more than 60 years, covering Chinese, English, French and other languages, focusing on the translation of ancient Chinese poetry into English, forming the method and theory of rhyming style translation of poetry, known as “the only person to translate poetry into English and French”. As an outstanding translator in contemporary China, he plays an important role in promoting Chinese cultural works and letting them be known by so many foreigners. In 2010, Xu won the “Lifetime Achievement Award of Chinese Translation Culture”. On August 2, 2014, Xu Yuanchong was awarded the “Northern Lights” Outstanding Literary Translation Award, one of the highest awards in the international translation field, and was the first Asian translator to receive this award (Zhou Rongrong,2020:129). Mr.Xu Yuanchong plays an important role in Chinese translation circle, not only for his numerous translation masterpieces but also for his translation theory, which has a great influence in latter translators.<br /> <br /> Poetry, according to Alexander Pope, has been said to consist of “what oft was thought, but ne’er so well expressed” . Thus, poetry seems to lie on a continuum with one end attached to human feelings and emotions, which can only be sensed, not given expression to; for how can we say how much we enjoyed a poem? The other side attached to his means of communication, i.e. language; hence the controversial relationship between language and mind (Dastjerdi et. al, 2008:8).Most current translations, versions , and imitations of poetry have two main features in common:they both expand and compress the source text. Compression is mainly achieved through the use of compound-words or paraphrase and frequently camouflaged as “explanation,” “interpretation,” or even “improvement.” Expansion is achieved through the use of exaggeration, explicitness, and padding, and camouflaged in much the same way(André, 1975:384). And to some extent, the original beauty would be decreased by such methods without an orderly theory. The translation theory of “three-beauty” determines that Xu Yuanchong be consistent with the principle of “pursuing beauty” over “expressing faithfully” in his translation practice, attaches importance to the “beauty”of poetry and gives full play to his creativity. Xu once said that “The main purpose of poetry translation is not to make reputation of the poet letting him being remembered by the people of future generations, but to enable people to share the poet’s graceful feelings”; “I think translating poems should be ingenious and creative, he added.(He Xiaoli, 2019:117)<br /> <br /> ''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.<br /> <br /> Three Hundred Tang Poems is a very popular anthology of Tang poetry. The Tang dynasty (618-907) was the golden age of Chinese poetry, with many famous poets and more than 50,000 poems. The book Three Hundred Tang Poems (Chinese and English), completed by Xu Yuanzhong, was published by China International Translation Press in 2007. And the theory of &quot;Three Beauties&quot; is often used in the translation of &quot;Three Hundred Tang Poems&quot;. Therefore, it is highly practical to study Xu Yuanzhong's translation of Three Hundred Tang Poems from the perspective of his translation theory &quot;Three Beauties&quot;. This paper studies and evaluates the translation of the Three Hundred Tang Poems on the basis of the principle of &quot;Three Beauties&quot;, and divides the discussion into four main parts: the explanation of the theory of &quot;Three Beauties&quot;, the evaluation from the scope of the beauty of meaning, the evaluation from the scope of the beauty of sound, and the evaluation from the scope of the beauty of form.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:14, 14 December 2021 (UTC)<br /> <br /> ===2.“Three-Beauty” Theory===<br /> The theory of “three-beauty” was first put forward by Xu Yuanchong in his letter to the aesthetician Zhu Guangqian(a famous Chinese Modern and contemporary aesthetician, literary theorist, educator, translator) in 1979, and has been continuously applied in subsequent translation practices. Xu Yuanchong once said:“Western translation stresses equivalence, advocating word for word translation, almost 90% of their written vocabulary is equivalent. Chinese is different from other languages in that only 50% of words are equivalent to words. Although equivalence does not violate objective regularity, it does not give play to subjective initiative. Without distorting the author's meaning, translation must reflect the connotation, essence and soul of a national culture”(Zhou Rongrong,2020:131). It is known to all that Xu won his national reputation mainly from his poetry translation practice and his initiation of the principle of “ three-beauty”(which refers to beauty in sense, sound and form). It’s of great significance to the practice of poetry translation, and might be assumed as a milestone in the field of poetry translation(Guo Zhuzhang,1997).<br /> <br /> Actually the principle of “ three-beauty” was initially put forward in the essay “From Language to Artical”by Lu Xun( the great writer, thinker and revolutionary in China). He stated “in learning a Chinese character, three aspects should be taken into consideration, namely, ‘the sense, the sound and the form’,as to article writing, beauty in three aspects should likewise be taken into account: for one thing, to achieve beauty in sense to move reader’s heart; the second, to achieve beauty in sound to suffice reader’s ears; finally, to achieve beauty in form to appeal to reader’s eyes(Guo Zhuzhang,1997). As the principles were only applied in language and character, Xu employed it to poetry translation after having a comprehend understanding and analysis of the original principles. What’s more, Xu published a series of articles to further expound the principle of “three-beauty”.<br /> <br /> “with regard to ‘three-beauty’, beauty in sense is of the greatest significance, therefore should be put in the first position; beauty in sound is of less important and hence is placed in the second place; whereas beauty in form is of the least magnitude and ought to laid in the third place.” “We should exert ourselves to convey the beauty in sound of the original work under the provision of faithful reproduction of the original beauty in sense; furthermore, we should try our utmost to convey the beauty in form of the source text under the provision of both the reproduction of the original beauty in sense and in sound; in a word, we should ake the greatest endeavor to reproduce the original beauty in sense, in sound and in form comprehensively”(Xu Yuanchong, 1997).<br /> <br /> This is the situation that you can handle the three aspects simultaneously, however there are a host of texts that are very complicated and you can not make it work. So under this circumstance, Xu further sates that:“If ‘three-beauty’ cannot be achieved simultaneously, the resemblance in form can be ignored, so is the resemblance in sound; nevertheless, the conveyance of original beauty in sense and in sound should be retained in whatever circumstance (Xu Yuanchong,1997). <br /> <br /> According to his statement, we can draw a conclusion that when we are translating something especially poetry, we should pay attention to the three aspects: sense, sound and form. And the beauty of sense occupies the first place, sound the second, form the third. In other words, the meaning of the poetry is the most important thing that we can not violate it in order to achieve other effects. On the condition that we do not affect the meaning, we can take the sound into consideration. As very different from other genres of articles, poetry pays much attention to the rhythm which can be read in a catchy and graceful way, making people easy to experience the feeling of the poets. And the form, after considering the sense and sound, the form is also important.<br /> <br /> As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)<br /> <br /> ===3.Beauty in Sense===<br /> Mr. Xu Yuanchong believes that beauty in sense is the most important task in poetry translation and it is also the core of the “three-beauty” theory. As mentioned before, when we are doing poetry translation, we have to pay our attention to the sense of the poem at first, because it is the most fundamental aspect. In sense translation, it is not only a simple and direct translation of the meaning of the poem, but also the deep meaning that the poet wants to express while conveying the surface meaning. And for the deep meaning, the deep meaning of a poetry is much difficult to express succinctly, since there are many images in a poetry. As poetry is a literary form that conveys the poet’s thoughts and feelings, its content is mostly abstract, so in this case, translation will encounter great difficulties.<br /> Beauty in sense, in short, means that the translated poem should be faithful in content, smooth in language expression, and deeply convey the beauty of the artistic conception of the original poem, so that the readers of the translated poem can have the same spiritual shock and touching as the readers of the original poem (He Xiaoli, 2019:116) . Therefore, it is very important for the translator to retain the artistic conception of the original poem. Take professor Xu’s English translation of tang dynasty poem “Out of the Great Wall”, written by Wang Zhihuan as an example:<br /> <br /> <br /> 黄河远上白云间，一片孤城万仞山。<br /> <br /> 羌笛何须怨杨柳，春风不度玉门关。（Xu Yuanchong, 2011:438）<br /> <br /> <br /> The Yellow River rises to the white cloud;<br /> <br /> The lonely town is lost amid the mountains proud.<br /> <br /> Why should the Mongol flute complain no willows grow?<br /> <br /> Beyond the Gate of Jade no vernal wind will blow. (Xu Yuanchong, 2011:64) <br /> <br /> <br /> This poem was written at the time when the poet first arrived in Liang Zhou( ancient northwest capital of China), facing the Yellow River and the vast scenery of the border city, at the same time, hearing the song “Snapping Willows” and was inspired to write this poem, which expresses the feeling of missing home of those soldiers who guard the frontier of their country. The first two lines of the poem describe the vast scenery in the northwest. Mr. Xu used “rise” to present the “远上”, although it describes the Yellow River flowing away into the distance, as if towards the sky, the word “rise” can also describe the magnificent sight of the Yellow River surging forward. <br /> <br /> Then he described “the lonely town ‘is lost amid’ the mountains ‘proud’ ”. Actually in the original poem, the poet only listed the lonely town and the high mountains. Actually, “仞” is an unit of length in ancient Chinese, and “万仞” shows the amazing height of the mountains.In Xu Yuanchong’s translation, both the lonely town and the high mountains are personified. The lonely town is lost in the proud and high mountains like human being. On the basis of accurately conveying the surface meaning of the original poem, the translator also vividly expresses the poet’s emotion by means of personifying the image. To some extent, this translated sentence is even better than the original poem. Since the “lonely town” in this poem is the image of those soldiers, they were like the lonely town, lost in the high mountains in the northwest China.<br /> <br /> As for the third sentence, “羌笛何须怨杨柳” shows the meaning that against the backdrop of this desolate environment, the Qiang Flute, in the meantime, played to the tune of “Picking up a Willow Branch”, made soldiers on the border feel homesick(Huang Bingxiang, 1991:65). In this sentence, “羌笛” refers to a musical instrument, a kind of flute popular in the frontier in ancient times and being called Qiang Flute because it rooted in the Qiang ethnic minority. And “怨” translated into “complain” is very appropriate and it can exactly express the feeling of the poet. Because the Chinese word for “willow” (柳) sounds similar to the word for “stay” (留) in Chinese, ancient Chinese people often gave a gift of willow as a token of remembrance when parting. While hearing the plaintive song with melancholy, those solders were so upset and the poet did not know how to comfort them, instead he can only complain that why the Qiang Flute always play sorrowful musics.<br /> <br /> In the last sentence, “春风不度玉门关” shows that vernal wind will never reach the Gate of Jade. And in Mr.Xu’ translation, he completely conveys the meaning of the original poem. And “vernal wind” is an image of the emperor at that time, because the emperor’s care could not reach there, outside the Gate of Jade in such a dangerous and terrible environment. The poet expressed his complaints that the emperor did not care about the life and death of the frontier soldiers guarding the Gate of Jade and couldn’t sympathize with them(Sheng Dalin, 2020:52).<br /> <br /> In this translation, the translator have conveyed not only the surface meaning, but also the deep feeling of the poet by using some methods, such as personification. With this, those foreigners can have a better understanding about this poem, about the hard life of those frontier soldiers. Through this translation, we can see the terrible environment of the frontier, soldiers’ longing for home, and the poet’s helpless and complaints about the emperor.<br /> <br /> ===4.Beauty in Sound===<br /> One of the reasons for the great artistic charm of Chinese Poetry in the Tang Dynasty is that it pursues the beauty of sound and rhyme, pays attention to the level and oblique tones (The tones in ancient Chinese are divided into four tones: “Level tone” refers to the flatness of the four tones; “Oblique tone” refers to the other three tones), and makes good use of reduplication of words. However, the translation of cross-cultural literary works involves two completely different linguistic symbol systems and phonological combinations. For example, in poetry, one of the compatible combinations of some thoughts and artistic conception in the culture of China is a rhyme, which is a kind of well-arranged prose with musical beauty. However, when the combination of language symbols in the English culture is transformed, its arrangement loses all the rhythmic and music aesthetic feelings in the original text, thus resulting in the loss of cultural aesthetic of rhyme (Bao Tongfa, 2003:55).<br /> <br /> In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:<br /> <br /> <br /> 袅袅古堤边，青青一树烟。<br /> <br /> 若为丝不断，留取系郎船。（Xu Yuanchong, 2011:525）<br /> <br /> <br /> Your long, long branches wave by riverside,<br /> <br /> Your green, green leaves like wreaths of smoke afloat.<br /> <br /> “Make ropes unbreakable of them,” she sighed,<br /> <br /> “To tie up my beloved one’s parting boat!”(Xu Yuanchong, 2011:211)<br /> <br /> <br /> This is a poem of four line with each containing five characters, and it is named as “五言绝句” in Chinese. This kind form of poem “ five-character quatrain” was not the creation of poets in the Tang Dynasty, but originated from the yuefu poems of the Han and Wei dynasties. Due to the limitation of the number of words, compared with other poetic genres, the “five-character quatrain”should be more concise and generalized in terms of its language and expression techniques, which makes it more difficult to create. Therefore, this kind of poem naturally become the most brilliant pearl in the poetry of Tang Dynasty and is also the essence of that time. (Wang Quan, 2015:125)<br /> <br /> The poem in Chinese the first two sentences rhyme with “an” as “边” and “烟” , and the last two sentences rhyme with “ uan” as “断” and “船”. And each sentence of them is composed with five characters, making the whole poem very catchy, rhythmic and melodious when we read it. In the translation version, Professor Xu Yuanchong uses intersentence rhyming, the first and third sentences rhyme with “aɪd” as “riverside” and “sighed” while the second and the fourth sentence rhyme with “oʊt” as “afloat” and “boat”. For “an” and “aɪd”sounds, we just have to open our mouth slightly, but for the other two sounds we have to keep our mouth wide. Taking into account the similarity of rhyme in translation can make the translated poem closer to the original poem in terms of rhyme and retain the beauty of the original poem as much as possible.<br /> <br /> The first two sentences describe a scene that on both sides of the old embankments, there are green willows dancing with the wind. Actually the poet didn’t mentioned the willow directly but made a metaphor. In the wind, the bountiful branches of willows dance in the wind which are just like a wisp of smoke. In the poem, the poet uses the reduplication “袅袅” and “青青” and in the translation Professor Xu focuses on reproducing the rhythmic beauty of the original poem, by using the reduplication “long, long” and “green, green” making the two sentences very rhythmic. In the last two sentences, in poet shows the psychological activities of the heroine, but in the translation, these two sentences are directly expressed as the sigh of the heroine. In all, this translation greatly retains the rhythmic beauty of the original poem, making it also reads rhythmically.<br /> <br /> ===5.Beauty in Form===<br /> Tang poetry is famous for the metrical, neat antithesis, the length of the former sentences and the latter ones being the same, and scattered well. Form beauty mainly refers to the consistency of lines and stanzas between the translated poem and the original poem. When translating, the translator should try to make the target language readers read the translation with the same effect. If the translated poem and the original poem have the same number of lines, the same number of sections, and the same form in terms of sentence length and antithesis, the beauty of the form of the original poem is basically reflected (Jiang Mingyu, 2020:139). Actually, translation is a kind of imitation, we should do our best to keep the original entity be transformed into the thing that can be as similar as possible, and it doesn’t simply depend on one side but on the whole aspects which it will be seen. However, in the process of translation, we should not blindly pursue the same form, because this rigid correspondence is likely to cause great changes in other aspects of the poem, resulting in great loss to the meaning and sound of the original poem. So according to professor Xu’ “three-beauty” theory, it would be better for those translators to adjust the formal features of the poem to make it consistent with the original poem to the greatest extent without compromising the meaning and rhythm of the original poem. Personally, a certain degree of innovation in the form is not undesirable.Take Professor Xu’s English translation of Tang Dynasty poem “Song Of The Pating Son” as an example:<br /> <br /> <br /> 慈母手中线，游子身上衣。<br /> <br /> 临行密密缝，意恐迟迟归。<br /> <br /> 谁言寸草心，报得三春晖？（Xu Yuanchong, 2011:522）<br /> <br /> <br /> From the threads a mother’s hands weaves,<br /> <br /> A gown for parting son is made.<br /> <br /> Sewn stitch by stitch before he leaves,<br /> <br /> For fear his return be delayed.<br /> <br /> Such kindness as young grass receives,<br /> <br /> From the warm sun can be repaid? (Xu Yuanchong, 2011:208)<br /> <br /> <br /> This poem, composed of six lines and thirty characters, expresses the poet’s respect, love and gratitude to his mother, which has resonated with countless people from ancient times till now. The first two sentences describe a scene in which the mother, holding a needle and thread, makes new clothes for her child, which shows the mother’s love in profile. The third and fourth sentences describe the mother’s actions and psychological feelings respectively.<br /> <br /> The beauty of form in poetry also has antithesis, that is, a pair of sentences with basically the same or similar grammatical structure and exactly the same number of syllables, to express a opposite or relative meaning. Chinese classical poetry pays much attention to antithesis. In the original poem, “慈母” and “游子”、 “手中线” and “身上衣”、 “密密缝” and “迟迟归”、 “寸草心”and “三春晖” all respectively form antitheses, making the structure of the poem very neat. “慈母” refers to a loving mother and “游子” means sons and daughters who are far away from their parents being the subjects of this sentences. While for “手中线”and “身上衣”, “手”and “身” are both the organ of people’s body, “中” and “上” are both directional nouns, and “线”and “衣” are both nouns, in addition clothes are made of thread. Then “密密”and “迟迟” use the reduplication to embellish the following verbs “逢”and “归”. As for“寸草心”and “三春晖”, they respectively refer to children’s gratitude to their parents and mother’s love. <br /> <br /> In the translation, professor Xu didn’t translate directly in the order of the original text but instead translated the first, fourth and last sentence, by putting the preposition at the beginning and the second and fifth sentences use the form of “article + noun” to start the sentences. What’s more, the verb of each sentence is placed at the end of the sentence, and the preposition “from” is used as the beginning of the first and last sentence, which makes the whole poem echo of fore and aft in structure and makes the poem look more complete. In addition, professor Xu adopted the expression of one line and one sentence conforming to the form of English poetry, and translated each clause in the original poem into one line, with each line having eight to ten syllables. <br /> <br /> Through his superb translation skills, by adjusting the original order of the poem, Xu Yuanchong presents the very concise meaning of the original poem to the readers well. As I have mentioned before, it’s very hard for translators to show one hundred percent of the beauty of the original poem. But in fact, in the process of translation, the three aspects of beauty should be considered together. They are not the difference in order, but the difference in the main degree.<br /> <br /> ===6.Conclusion===<br /> Every act of translation is mingled with some problems and challenges. Poetry translation may be more challenging than other types of translation due to the importance of both form and content in the type of interpretation and response evoked in the audience. In poetry translation one of the most essential issues to be addressed by the translator is whether to prefer the form over the content or vice versa(Leila, 2011:3).As a translation standard, the proposal of “three-beauties” has a very positive significance. It is Xu Yuanchong’s contribution to poetry translation theory. His creativity can be described as a link between the past and the future. It can be said that Mr. Xu Yuanchong’s originality (Pu Hongying, 2010:101). The “three-beauty” theory promoted by Xu Yuanchong, and used in the process of poem translation, is a translation theory of great reference value. In the process of poetry translation, we should follow the “three-beauty” theory. First of all, we should have a relatively rich background knowledge, enough to support our understanding of the meaning of the original poem at all levels. Secondly, in the process of translation, we do not consider meaning beauty first and then the other two aspects, but consider the three aspects at the same time, and put the beauty of sense in a more important position, followed by sound and form. It will help translators a lot in poetry translation by using the “three-beauty” theory. Wellek and Warren, as far back as in 1942, said that “Meanings, context, and ‘tone’ are needed to turn linguistic sounds into artistic facts.” This claim is based on the idea that poetry is a series of sounds out of which arises a meaning. Sounds are arranged according to stress and pitch, recurrence, position of rhythmical units and other elements that together furnish what has misleadingly been called the “musicality” of a poem (Marta, 1998:24). There are still some similarities between Chinese and English poem translation, both focusing on meaning and sound.<br /> <br /> But at the same time, there are of course some limitations in the “three-beauty” theory. According to cognitive linguistics, we can know that every language is based on the reality, and then through our cognitive pattern, we can form the language we actually use. What makes sense is that we human beings of different country, we have different cognitive patterns and even every individual has a special way to know the world. As for every language is according to the characteristic of the elements such as phonetics, grammar and vocabulary, according to the characteristic of the structure of a set of complete system, so the Chinese and English two languages in pronunciation, vocabulary, grammar, discourse, pragmatics have significant differences in various aspects (Pu Hongying, 2010:101). So the “three-beauty” theory which we focus on in Chinese poetry is not necessarily the same “three-beauty” of the poetry in English. As a result, it seems impossible to achieve the “three-beauty” standard entirely in concrete practice.<br /> <br /> ===References===<br /> Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版),No.03:55-58.<br /> <br /> He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）,No.484 (10）:116-117.<br /> <br /> Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横,No.2:64-66.<br /> <br /> Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上),No.517(09):138-139.<br /> <br /> Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报,No.36(07):49-57.<br /> <br /> Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of &quot;Three Beauties&quot;)[J].伊犁师范学院学报(社会科学版),No.01:99-101.<br /> <br /> Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版),No.01:124-128<br /> <br /> Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学，2006.<br /> <br /> Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社.<br /> <br /> Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of &quot; beauty in meaning&quot; in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.<br /> <br /> Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版),No.20(10):129-133.<br /> <br /> Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.<br /> <br /> Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari.(2008) &quot;Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse.&quot; Journal of Language &amp; Translation 9.1,pp.7-40.<br /> <br /> Lefevere, André. (1975) “The translation of poetry: Some observations and a model.” Comparative Literature Studies,pp.384-392.<br /> <br /> Niknasab, Leila, and Elham Pishbin.(2011) &quot;On the translation of poetry: A look at Sohrab Sepehri's traveler.&quot; SKASE Journal of Translation and Interpretation 5.1, pp.2-23.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&diff=132776 2021-12-14T05:10:10Z

<p>Wu Yinghong: </p> <hr /> <div>'''Aesthetic Appreciation of Literary Translations'''<br /> Chapter [[Theor_App_Lit_EN_1]]<br /> <br /> <br /> [[Aesthetic Appreciation of Literary Translations|Overview Page of Aesthetic Appreciation of Literary Translations]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Aesth_App_EN_1]] [[Aesth_App_EN_2]] [[Aesth_App_EN_3]] [[Aesth_App_EN_4]] [[Aesth_App_EN_5]] [[Aesth_App_EN_6]] [[Aesth_App_EN_7]] [[Aesth_App_EN_8]] [[Aesth_App_EN_9]] [[Aesth_App_EN_10]] [[Aesth_App_EN_11]] [[Aesth_App_EN_12]] [[Aesth_App_EN_13]] [[Aesth_App_EN_14]] [[Aesth_App_EN_15]] [[Aesth_App_EN_16]] [[Aesth_App_EN_17]] [[Aesth_App_EN_18]] [[Aesth_App_EN_19]] [[Aesth_App_EN_20]] [[Aesth_App_EN_21]] [[Aesth_App_EN_22]] [[Aesth_App_EN_23]] [[Aesth_App_EN_24]] [[Aesth_App_EN_25]] [[Aesth_App_EN_26]] [[Aesth_App_EN_27]] [[Aesth_App_EN_28]] [[Aesth_App_EN_29]] [[Aesth_App_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> =1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life<br /> <br /> ===摘要===<br /> <br /> It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.<br /> <br /> ===关键词===<br /> <br /> <br /> ===Abstract===<br /> <br /> It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.<br /> <br /> ===Key words===<br /> poetry translation; appreciation and criticism; comparative analysis<br /> <br /> ===1.Introduction===<br /> <br /> Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. <br /> <br /> According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. <br /> Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. <br /> <br /> Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.<br /> <br /> ===2.The principles of poetry translation appreciation and criticism===<br /> <br /> ===2.1What is poetry===<br /> <br /> First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. <br /> <br /> Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness (Li Ming, 2010: 203). <br /> Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (宁会勤，2009：34) <br /> <br /> Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.<br /> <br /> ===2.2 principles of poetry translation===<br /> <br /> Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.<br /> <br /> Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)<br /> <br /> Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately（Liao Siping, Zhang Yu, 2007: 53）. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.<br /> <br /> ===2.3What is poetry translation appreciation and criticism ===<br /> <br /> Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.<br /> <br /> ===2.4 principles of poetry translation appreciation and criticism===<br /> <br /> Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.<br /> <br /> ===3.Comparative analysis of different version of translation of poetry ===<br /> <br /> In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. <br /> It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.<br /> <br /> Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained. <br /> For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes refers to the various versions of translations. Different from the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. <br /> <br /> Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. <br /> <br /> In A Psalm of Life, Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of A Psalm of Life is the first western poem being translated into Chinese. It was the Dong Xun, the Hu Bu Shang Shu of Xian Feng period in Qing dynasty, that first translated A Psalm of Life in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of A psalm of Life, it widely circulated in China (Li Ming, 2010: 206-207). <br /> <br /> Now let us try to analyze the different translation versions of A Psalm of Life. First, let’s look at the original contents of this poem. <br /> <br /> A Psalm of Life<br /> Henry Wordsworth Long Fellow<br /> <br /> Tell me not in mournful numbers,<br /> Life is but an empty dream!<br /> For the soul is dead that slumbers,<br /> And things are not what they seem. <br /> <br /> Life is real! Life is earnest!<br /> And the grave is not its goal;<br /> Dust thou art, to dust returnest,<br /> Was not spoken of the soul.<br /> <br /> Not enjoyment, and not sorrow,<br /> Is our destined end or way;<br /> But to act, that each tomorrow<br /> Finds us farther than today.<br /> <br /> Art is long, and time is fleeting,<br /> And our hearts, though stout and brave,<br /> Still, like muffled drums, are beating<br /> Funeral marches to the grave.<br /> <br /> In the world’s broad field of battle, <br /> In the bivouac of life,<br /> Be not like dumb, driven cattle!<br /> Be a hero in the strife!<br /> <br /> Trust no Future, howe’er pleasant!<br /> Let the dead Past bury its dead!<br /> Act—act in the living Present!<br /> Heart within, and God’s o’erhead!<br /> <br /> Lives of great men all remind us <br /> We can make our lives sublime,<br /> And, departing, leave behind us<br /> Footprints on the sands of time;<br /> <br /> Footprints that perhaps another,<br /> Sailing o’er life’s solemn main,<br /> A forlorn and shipwrecked brother,<br /> Seeing, shall take heart again.<br /> <br /> Let us, then, be up and doing,<br /> With a heart for any fate;<br /> Still achieving, still pursuing,<br /> Learn to labour and to wait.<br /> <br /> This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!” <br /> <br /> From the third paragraph to the sixth paragraph, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth paragraph highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life. <br /> <br /> The last paragraph is the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream. <br /> Now let us see the Chinese versions of translations of A Psalm of Life. <br /> 译文一： 译文二： <br /> 生命的礼赞 生之颂 <br /> 别用悲伤的语调对我呻吟， 别用悲切的诗句对我唱：<br /> “人生不过是梦幻一场”！ “人生只是虚幻的梦一场！”<br /> 因为沉睡中的灵魂已经死去， 因为昏睡的灵魂已死亡，<br /> 万物并非它们显示的模样。 而事物不是看来那模样。<br /> <br /> 生命是真实的！生活是严肃的！ 人生多真切！它绝非虚度！ <br /> 它们的终点决不是坟场； 一抔黄土哪里会是它的归宿；<br /> “你来自尘土， 必归于尘土”； “你来自泥尘，得重归泥尘，”<br /> 但这是指肉体，灵魂并未死亡。 这句话所指的并不是灵魂。<br /> <br /> 我们注定的结局和道路， 我们命定的终点和道路<br /> 既不是享乐， 也不是悲伤； 既不是享乐，也不是悲苦；<br /> 而是行动，为了每一个明天， 行动吧；要让每一个明天<br /> 使我们比今天走得更远更长。 发现我们比今天走得远。<br /> <br /> 艺术长久，韶光飞逝， 学艺费光阴，时日去匆忙，<br /> 我们的心尽管英勇而坚强， 任我们的心勇敢又坚强，<br /> 却仍像阵阵低沉的鼓声， 依然像一些蒙住的 鼓——<br /> 正朝着坟墓把哀乐敲响。 敲打着哀乐走向那坟墓。<br /> <br /> 在世界辽阔的战场上， 在风云世界的广阔战场，<br /> 在生命的露宿的营地上， 在人生征途的野宿营帐，<br /> 别作默默无声、任人驱使的牛羊， 别像默默的牛羊任驱赶！<br /> 要在战斗中当一名闯将！ 要争做英雄，能征惯战！<br /> <br /> 莫信托未来，不管它怎样欢畅！ 将来再美好也别空指望！<br /> 让逝去的岁月将死者埋葬！ 让死的过去把死的埋葬！<br /> 行动吧，就在活着的此刻行动！ 干！在活生生的现在就干！<br /> 胸内有红心，头顶有上苍！ 胸中是赤心，上帝在云端！<br /> <br /> 伟大的人物的生平把我们提醒， 伟人的生平向我们指出： <br /> 我们能使我们的一生变得高尚， 我们能使此生超群脱俗——<br /> 在离开人间时，也能让足印 一朝逝去，时间的沙滩上<br /> 遗留在我们身后的时间的沙滩上。 将留下我们的脚印行行。<br /> <br /> 呵，足印！也许另一位弟兄， 在庄严的生活之海航行，<br /> 当他航行在生命庄严的海洋上， 也许有兄弟会遭到不幸，<br /> 不幸遇难，看见了这些足印， 会因为航船沉没而绝望——<br /> 他就会使勇气重新增长。 但见那脚印，又变得顽强。<br /> <br /> 那么让我们振奋起来行动吧， 让我们挺起身，行动起来，<br /> 我们准备迎接任何命运的风浪； 凭对付任何的胸怀，<br /> 永远要有所作为，不断追求， 不断去收获，不断去追求；<br /> 学会劳动，也学会等待和期望。 永远在学着苦干和等候。<br /> （黄新渠译） （黄果忻译）<br /> <br /> 译文三<br /> 生之颂<br /> 莫向我吟唱，哀戚之词<br /> 叹生如梦境，虚无所炽<br /> 灵魂之沉睡，恍若长辞<br /> 而世间万物，伪装如缁<br /> <br /> 因孤坟荒土，非我命旨<br /> 因生之馥郁，真切如是<br /> 既生于尘滞，复归尘滞<br /> 而九天魂灵，长存如诗<br /> <br /> 决不为欢声，抑或悲思<br /> 我生之所往，道长如斯<br /> 集快马长剑，日日疾驰<br /> 待明日细数，功成如此<br /> <br /> 任艺业无涯，光阴飞逝<br /> 彼壮士之心，英勇无疵<br /> 奈战鼓哀亡，冢林墓石<br /> 怜其怨其殇，命魂所指<br /> <br /> 观我生所在，浮华乱世<br /> 观风云乾坤，辽阔如帜<br /> 斯牛羊傀儡，安得其实<br /> 唯浴血烽火，终成其事<br /> <br /> 纵欢娱无尽，未来未至<br /> 任亡者葬弃，过往已失<br /> 上苍行其道，我执其旨<br /> 即可启征铎，不枉今日<br /> <br /> 伟人之不朽，可为典示<br /> 倾我之所能，亦足至此<br /> 反肉身凡胎，终有一死<br /> 然我将留痕，流光之坻<br /> <br /> 望生命之海，风急浪蚀<br /> 念天行无常，苦难游子<br /> 而前人足迹，必将明示<br /> 纵满盘皆输，壮志不失<br /> <br /> 集生之全力，勿候勿止<br /> 有备则无惧，命运之矢<br /> 独精我所行，逐我所适<br /> 且耕且守望，丰收之时<br /> （张瑶译）<br /> <br /> First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence &quot;Tell me not in mournful numbers&quot;, the three translations have their own emphasis, the first translation is &quot;Don't whisper to me in a sad tone&quot;, the &quot;tell&quot; is translated as &quot;低吟&quot;; the second translation is &quot;Tell&quot; is translated as &quot;唱&quot;; the third translation is translated as &quot;吟唱&quot;. <br /> <br /> For &quot;Life is but an empty dream&quot;, the first and second translations both translated it as &quot;Life is just an illusory dream&quot;, which basically achieves the effect of &quot;expressing meaning&quot;, while the third translation is translated as &quot;sorrowful words&quot;, the author believes that it is biased, because it does not convey the charm of &quot;life is like a dream&quot; in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.<br /> <br /> In the second section, the translation of &quot;Life is real, life is earnest!&quot; translates two &quot;life&quot; into &quot;生命&quot; and &quot;生活&quot; respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, &quot;life&quot; is translated as “人生&quot;, and &quot;life is earnest!&quot; is translated as &quot;it is not in vain&quot;. This is a conversion of positive and negative translation, which surprises readers.<br /> <br /> For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry. <br /> <br /> In the fourth paragraph, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text. <br /> <br /> In the fifth paragraph, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence. <br /> <br /> In the sixth paragraph, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.<br /> <br /> In the seventh paragraph, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平.我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry. <br /> <br /> In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”<br /> Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding. <br /> <br /> In the ninth paragraph, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.<br /> <br /> <br /> ===4.conclusion===<br /> <br /> Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation. <br /> The three versions of translation of A Psalm of Life successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.<br /> <br /> =邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=<br /> <br /> 纽马克翻译理论视角下《我是猫》的不同中译本比较研究<br /> <br /> 邹岳丽 Zou Yueli Hunan Normal University, China<br /> <br /> [[Aesth_App_EN_2]]<br /> <br /> =邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =<br /> <br /> [[Aesth_App_EN_3]]<br /> <br /> <br /> =吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =<br /> [[Aesth_App_EN_4]]<br /> <br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&diff=131768 2021-12-13T11:51:08Z

<p>Wu Yinghong: </p> <hr /> <div>'''Aesthetic Appreciation of Literary Translations'''<br /> Chapter [[Theor_App_Lit_EN_1]]<br /> <br /> <br /> [[Aesthetic Appreciation of Literary Translations|Overview Page of Aesthetic Appreciation of Literary Translations]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Aesth_App_EN_1]] [[Aesth_App_EN_2]] [[Aesth_App_EN_3]] [[Aesth_App_EN_4]] [[Aesth_App_EN_5]] [[Aesth_App_EN_6]] [[Aesth_App_EN_7]] [[Aesth_App_EN_8]] [[Aesth_App_EN_9]] [[Aesth_App_EN_10]] [[Aesth_App_EN_11]] [[Aesth_App_EN_12]] [[Aesth_App_EN_13]] [[Aesth_App_EN_14]] [[Aesth_App_EN_15]] [[Aesth_App_EN_16]] [[Aesth_App_EN_17]] [[Aesth_App_EN_18]] [[Aesth_App_EN_19]] [[Aesth_App_EN_20]] [[Aesth_App_EN_21]] [[Aesth_App_EN_22]] [[Aesth_App_EN_23]] [[Aesth_App_EN_24]] [[Aesth_App_EN_25]] [[Aesth_App_EN_26]] [[Aesth_App_EN_27]] [[Aesth_App_EN_28]] [[Aesth_App_EN_29]] [[Aesth_App_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> =1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life<br /> <br /> ===摘要===<br /> <br /> It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.<br /> <br /> ===关键词===<br /> <br /> <br /> ===Abstract===<br /> <br /> It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.<br /> <br /> ===Key words===<br /> poetry translation; appreciation and criticism; comparative analysis<br /> <br /> ===1.Introduction===<br /> <br /> Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. <br /> <br /> According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. <br /> Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. <br /> <br /> Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.<br /> <br /> ===2.The principles of poetry translation appreciation and criticism===<br /> <br /> ===2.1What is poetry===<br /> <br /> First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house. <br /> <br /> Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness (Li Ming, 2010: 203). <br /> Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (宁会勤，2009：34) <br /> <br /> Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.<br /> <br /> ===2.2 principles of poetry translation===<br /> <br /> Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.<br /> <br /> Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)<br /> <br /> Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately（Liao Siping, Zhang Yu, 2007: 53）. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.<br /> <br /> ===2.3What is poetry translation appreciation and criticism ===<br /> <br /> Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.<br /> <br /> ===2.4 principles of poetry translation appreciation and criticism===<br /> <br /> Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.<br /> <br /> ===3.Comparative analysis of different version of translation of poetry ===<br /> <br /> In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. <br /> It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.<br /> <br /> Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained. <br /> For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes refers to the various versions of translations. Different from the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl. <br /> <br /> Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages. <br /> <br /> In A Psalm of Life, Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of A Psalm of Life is the first western poem being translated into Chinese. It was the Dong Xun, the Hu Bu Shang Shu of Xian Feng period in Qing dynasty, that first translated A Psalm of Life in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of A psalm of Life, it widely circulated in China (Li Ming, 2010: 206-207). <br /> <br /> Now let us try to analyze the different translation versions of A Psalm of Life. First, let’s look at the original contents of this poem. <br /> <br /> A Psalm of Life<br /> Henry Wordsworth Long Fellow<br /> <br /> Tell me not in mournful numbers,<br /> Life is but an empty dream!<br /> For the soul is dead that slumbers,<br /> And things are not what they seem. <br /> <br /> Life is real! Life is earnest!<br /> And the grave is not its goal;<br /> Dust thou art, to dust returnest,<br /> Was not spoken of the soul.<br /> <br /> Not enjoyment, and not sorrow,<br /> Is our destined end or way;<br /> But to act, that each tomorrow<br /> Finds us farther than today.<br /> <br /> Art is long, and time is fleeting,<br /> And our hearts, though stout and brave,<br /> Still, like muffled drums, are beating<br /> Funeral marches to the grave.<br /> <br /> In the world’s broad field of battle, <br /> In the bivouac of life,<br /> Be not like dumb, driven cattle!<br /> Be a hero in the strife!<br /> <br /> Trust no Future, howe’er pleasant!<br /> Let the dead Past bury its dead!<br /> Act—act in the living Present!<br /> Heart within, and God’s o’erhead!<br /> <br /> Lives of great men all remind us <br /> We can make our lives sublime,<br /> And, departing, leave behind us<br /> Footprints on the sands of time;<br /> <br /> Footprints that perhaps another,<br /> Sailing o’er life’s solemn main,<br /> A forlorn and shipwrecked brother,<br /> Seeing, shall take heart again.<br /> <br /> Let us, then, be up and doing,<br /> With a heart for any fate;<br /> Still achieving, still pursuing,<br /> Learn to labour and to wait.<br /> <br /> This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!” <br /> <br /> From the third paragraph to the sixth paragraph, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth paragraph highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life. <br /> <br /> The last paragraph is the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream. <br /> Now let us see the Chinese versions of translations of A Psalm of Life. <br /> 译文一： 译文二： <br /> 生命的礼赞 生之颂 <br /> 别用悲伤的语调对我呻吟， 别用悲切的诗句对我唱：<br /> “人生不过是梦幻一场”！ “人生只是虚幻的梦一场！”<br /> 因为沉睡中的灵魂已经死去， 因为昏睡的灵魂已死亡，<br /> 万物并非它们显示的模样。 而事物不是看来那模样。<br /> <br /> 生命是真实的！生活是严肃的！ 人生多真切！它绝非虚度！ <br /> 它们的终点决不是坟场； 一抔黄土哪里会是它的归宿；<br /> “你来自尘土， 必归于尘土”； “你来自泥尘，得重归泥尘，”<br /> 但这是指肉体，灵魂并未死亡。 这句话所指的并不是灵魂。<br /> <br /> 我们注定的结局和道路， 我们命定的终点和道路<br /> 既不是享乐， 也不是悲伤； 既不是享乐，也不是悲苦；<br /> 而是行动，为了每一个明天， 行动吧；要让每一个明天<br /> 使我们比今天走得更远更长。 发现我们比今天走得远。<br /> <br /> 艺术长久，韶光飞逝， 学艺费光阴，时日去匆忙，<br /> 我们的心尽管英勇而坚强， 任我们的心勇敢又坚强，<br /> 却仍像阵阵低沉的鼓声， 依然像一些蒙住的 鼓——<br /> 正朝着坟墓把哀乐敲响。 敲打着哀乐走向那坟墓。<br /> <br /> 在世界辽阔的战场上， 在风云世界的广阔战场，<br /> 在生命的露宿的营地上， 在人生征途的野宿营帐，<br /> 别作默默无声、任人驱使的牛羊， 别像默默的牛羊任驱赶！<br /> 要在战斗中当一名闯将！ 要争做英雄，能征惯战！<br /> <br /> 莫信托未来，不管它怎样欢畅！ 将来再美好也别空指望！<br /> 让逝去的岁月将死者埋葬！ 让死的过去把死的埋葬！<br /> 行动吧，就在活着的此刻行动！ 干！在活生生的现在就干！<br /> 胸内有红心，头顶有上苍！ 胸中是赤心，上帝在云端！<br /> <br /> 伟大的人物的生平把我们提醒， 伟人的生平向我们指出： <br /> 我们能使我们的一生变得高尚， 我们能使此生超群脱俗——<br /> 在离开人间时，也能让足印 一朝逝去，时间的沙滩上<br /> 遗留在我们身后的时间的沙滩上。 将留下我们的脚印行行。<br /> <br /> 呵，足印！也许另一位弟兄， 在庄严的生活之海航行，<br /> 当他航行在生命庄严的海洋上， 也许有兄弟会遭到不幸，<br /> 不幸遇难，看见了这些足印， 会因为航船沉没而绝望——<br /> 他就会使勇气重新增长。 但见那脚印，又变得顽强。<br /> <br /> 那么让我们振奋起来行动吧， 让我们挺起身，行动起来，<br /> 我们准备迎接任何命运的风浪； 凭对付任何的胸怀，<br /> 永远要有所作为，不断追求， 不断去收获，不断去追求；<br /> 学会劳动，也学会等待和期望。 永远在学着苦干和等候。<br /> （黄新渠译） （黄果忻译）<br /> <br /> 译文三<br /> 生之颂<br /> 莫向我吟唱，哀戚之词<br /> 叹生如梦境，虚无所炽<br /> 灵魂之沉睡，恍若长辞<br /> 而世间万物，伪装如缁<br /> <br /> 因孤坟荒土，非我命旨<br /> 因生之馥郁，真切如是<br /> 既生于尘滞，复归尘滞<br /> 而九天魂灵，长存如诗<br /> <br /> 决不为欢声，抑或悲思<br /> 我生之所往，道长如斯<br /> 集快马长剑，日日疾驰<br /> 待明日细数，功成如此<br /> <br /> 任艺业无涯，光阴飞逝<br /> 彼壮士之心，英勇无疵<br /> 奈战鼓哀亡，冢林墓石<br /> 怜其怨其殇，命魂所指<br /> <br /> 观我生所在，浮华乱世<br /> 观风云乾坤，辽阔如帜<br /> 斯牛羊傀儡，安得其实<br /> 唯浴血烽火，终成其事<br /> <br /> 纵欢娱无尽，未来未至<br /> 任亡者葬弃，过往已失<br /> 上苍行其道，我执其旨<br /> 即可启征铎，不枉今日<br /> <br /> 伟人之不朽，可为典示<br /> 倾我之所能，亦足至此<br /> 反肉身凡胎，终有一死<br /> 然我将留痕，流光之坻<br /> <br /> 望生命之海，风急浪蚀<br /> 念天行无常，苦难游子<br /> 而前人足迹，必将明示<br /> 纵满盘皆输，壮志不失<br /> <br /> 集生之全力，勿候勿止<br /> 有备则无惧，命运之矢<br /> 独精我所行，逐我所适<br /> 且耕且守望，丰收之时<br /> （张瑶译）<br /> <br /> First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence &quot;Tell me not in mournful numbers&quot;, the three translations have their own emphasis, the first translation is &quot;Don't whisper to me in a sad tone&quot;, the &quot;tell&quot; is translated as &quot;低吟&quot;; the second translation is &quot;Tell&quot; is translated as &quot;唱&quot;; the third translation is translated as &quot;吟唱&quot;. <br /> <br /> For &quot;Life is but an empty dream&quot;, the first and second translations both translated it as &quot;Life is just an illusory dream&quot;, which basically achieves the effect of &quot;expressing meaning&quot;, while the third translation is translated as &quot;sorrowful words&quot;, the author believes that it is biased, because it does not convey the charm of &quot;life is like a dream&quot; in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.<br /> <br /> In the second section, the translation of &quot;Life is real, life is earnest!&quot; translates two &quot;life&quot; into &quot;生命&quot; and &quot;生活&quot; respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, &quot;life&quot; is translated as “人生&quot;, and &quot;life is earnest!&quot; is translated as &quot;it is not in vain&quot;. This is a conversion of positive and negative translation, which surprises readers.<br /> <br /> For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry. <br /> <br /> In the fourth paragraph, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text. <br /> <br /> In the fifth paragraph, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence. <br /> <br /> In the sixth paragraph, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.<br /> <br /> In the seventh paragraph, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平.我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry. <br /> <br /> In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”<br /> Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding. <br /> <br /> In the ninth paragraph, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.<br /> <br /> <br /> ===4.conclusion===<br /> <br /> Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation. <br /> The three versions of translation of A Psalm of Life successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.<br /> <br /> =邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=<br /> [[Aesth_App_EN_2]]<br /> ===摘要===<br /> 纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 <br /> ===关键词===<br /> 语义翻译;交际翻译;表达型文本<br /> ===Abstract===<br /> Since its publication, I am a cat has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &quot;semantic translation and communicative translation&quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the same inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &quot;semantic translation&quot; and &quot;communicative translation&quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.<br /> ===Keywords===<br /> semantic translation; Communicative translation; Expressive text<br /> ===Introduction===<br /> This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.<br /> ====Research meaning ====<br /> Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &quot;I am a cat&quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.<br /> Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.<br /> ====Research method====<br /> This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and I am a cat, the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of I am a cat, collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method is used to make a comparative analysis of the translation.<br /> ====Composition of the paper====<br /> This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.<br /> ===An introduction to Newmark 's translation theory===<br /> Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &quot;literal translation&quot; and &quot;free translation&quot;.<br /> After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.<br /> ====Language function and text type====<br /> Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.<br /> ====Newmark’s Translation Theory--semantic translation and communicative translation====<br /> Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&quot;.<br /> Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &quot;expressiveness&quot; translation. However, if &quot;the original text is important&quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.<br /> ===The selection of the three versions and the introduction of the translator and the background of their translation===<br /> ====Introduction to Natsume Soseki and I'm a cat====<br /> Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &quot;national writer&quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.<br /> Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.<br /> ====A study on the original works and translation of I am a cat====<br /> In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.<br /> According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.<br /> ====Selection of the translation of I am a cat====<br /> The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.<br /> Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.<br /> Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.<br /> It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.<br /> In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.<br /> ====The authors of the three translations====<br /> Translator Liu Zhenying<br /> Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.<br /> Translator Yu Lei<br /> Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.<br /> Translator Liu Ziqian<br /> Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.<br /> ====Translation background and purpose of the three versions====<br /> Translation background and purpose of Liu Zhenying's version<br /> China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.<br /> Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and you bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.<br /> Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.<br /> Translation background and purpose of Liu Ziqia's version<br /> In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.<br /> ===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &quot;semantic translation&quot; and &quot;communicative translation===<br /> ====character description====<br /> Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &quot;cat&quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &quot;vilifying&quot; the characters, the exquisite portrait description also plays a great role.<br /> Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）<br /> Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。 <br /> Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。<br /> Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。<br /> Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &quot;报应(retribution)&quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &quot;战果(fruits of war)&quot; in Yu Lei's translation generally reminds people of the feeling of &quot;fruits of victory, good results&quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.<br /> ====treatment methods of cultural phenomena====<br /> Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.<br /> Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） <br /> Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 <br /> Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 <br /> Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。<br /> The Quantifier &quot;畳&quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of <br /> &quot;六畳の間&quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &quot;六畳の間&quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.<br /> ====translation of Proverbs====<br /> As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.<br /> 例 3：「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat ’s Chapter 5）<br /> Liu Zhenying ’s translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。<br /> Yu Lei ’s translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 <br /> Liu Ziqian ’s translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。<br /> “女賢しゅうして” ’s the original sentence “女さかしゅうして牛売りそこなう”，It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &quot;女子无才便是德&quot;, and translated the latter half of the sentence &quot;猫賢しゅうして鼠捕り損なう&quot; into“猫捕不到鼠便是德&quot;. Although this maintains the content and form of the original text, the phrase &quot;女子无才便是德&quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &quot;女子无才便是德&quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.<br /> ===conclusion===<br /> This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.<br /> ===Reference===<br /> [1] (英)杰里米·芒迪.翻译学导论———理论与实践[M].李德凤,译.北京:商务印书馆,2007. <br /> [2] 俞真.从纽马克翻译理论的发展谈直译与意译[J].汕头大学学报,2000(2):72-76. <br /> [3] 王政.语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J].黄河大学 学报,2007(1):89-91. <br /> [4] 线展.论纽马克理论在中日文学作品翻译中的适用性[J].文学语言学研究,2011(8)：41-42. <br /> [5] 竺家荣.漫谈日本文学翻译[N].文艺报外国文艺, 2012-04-16(11). <br /> [6] Peter Newmark Approaches to Translation [M].上海：上海外语教育出版社，2001.<br /> [7] 夏目漱石著 于雷译《我是猫》南京：译林出版社,2010-11.<br /> [8] 夏目漱石著 刘振瀛译《我是猫》上海：上海译文出版社,2011-01.<br /> [9] 夏目漱石著 刘子倩译《我是猫》台湾：大牌出版,2015-6.<br /> [10] 张晓敏 非语言（表情）表达文翻译研究一《我是猫》两中译本为中心南京：南京航空航天大学,2015:21<br /> <br /> <br /> <br /> =邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =<br /> <br /> [[Aesth_App_EN_3]]<br /> <br /> <br /> =吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> ]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131739 2021-12-13T11:39:16Z

<p>Wu Yinghong: /* 5.References */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> ]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131735 2021-12-13T11:38:07Z

<p>Wu Yinghong: /* 2.2Definition of Aesthetics of Translation */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> ]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131730 2021-12-13T11:37:12Z

<p>Wu Yinghong: /* 2.1Aesthetic origins of translation */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> ]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131717 2021-12-13T11:33:23Z

<p>Wu Yinghong: /* 2.3Aesthetic Theory of Translation */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131716 2021-12-13T11:33:02Z

<p>Wu Yinghong: /* 5.References */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.<br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131712 2021-12-13T11:32:27Z

<p>Wu Yinghong: /* 2.3Aesthetic Theory of Translation */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131709 2021-12-13T11:31:54Z

<p>Wu Yinghong: /* 3.2The aesthetic value of The Land of Snow */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131707 2021-12-13T11:31:21Z

<p>Wu Yinghong: /* 1.2Purpose and significance of the study */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.<br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131706 2021-12-13T11:30:35Z

<p>Wu Yinghong: /* 3.1Yasunari Kawabata and The Land of Snow */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131705 2021-12-13T11:30:06Z

<p>Wu Yinghong: /* 3.3The Chinese translation of The Land of Snow */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131701 2021-12-13T11:29:01Z

<p>Wu Yinghong: /* 3.1Yasunari Kawabata and The Land of Snow */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> <br /> <br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=131662 2021-12-13T11:16:05Z

<p>Wu Yinghong: /* 5.References */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.<br /> <br /> [4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.<br /> <br /> [5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.<br /> <br /> [6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.<br /> <br /> [8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.<br /> <br /> [9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=20220112_final_exam&diff=131396 2021-12-13T01:19:22Z

<p>Wu Yinghong: /* Final exam papers */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] <br /> <br /> [[20220112_final_exam|Final Exam Page]]<br /> <br /> ==Length==<br /> Please write a paper with 5,000 English letters/characters (including topic, name, abstract, key words, introduction, several points of argumentation, conclusion, references) + a Chinese topic, Chinese name, Chinese abstract and Chinese key words.<br /> <br /> The drafts have to be ready by November 17 (1,000 characters), November 24 (2,000 characters) and December 8 (5,000 characters). Proof reading has to be ready on December 15.<br /> <br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT<br /> <br /> <br /> <br /> =Samples from last year=<br /> *[[History of Translation Studies]] (Sample from last year.)<br /> =Step by step explanation how you add your final exam paper topic here=<br /> For most of the students I have created individual final exam paper webpages. Here is a step-by-step explanation how a student, who wants to add his final exam paper webpage or who wants to change a topic or a group can edit everything by himself or herself: <br /> <br /> 1. In the browser, open the website http://bou.de/u/. <br /> <br /> 2. Login to the wiki. A successful login means that you can now see your name on top of the website and on every website of this platform you find an &quot;Edit&quot; index tab. <br /> <br /> 3. Go to the website you want to edit (https://bou.de/u/wiki/20220112_final_exam). <br /> <br /> 4. Click on &quot;edit&quot;. <br /> <br /> 5. In the editor, scroll down to the place where you want to add your Name and topic. Add it. <br /> <br /> 6. Click on &quot;save&quot;. <br /> <br /> 7. Input the password &quot;wikicaptcha&quot; and click on &quot;save&quot; again. Now your name is there on the website. <br /> <br /> 8. Do the same on the group website where all the contributors to the same topic contribute: e.g. for &quot;The Cultural Turn&quot; click on that link and you get to the group website. There, click on &quot;edit&quot; and add your name as the last chapter on that page. Please do it in the same format (with =Name=) as the name above you. Do not forget to also copy the respective chapter link beneath your name entry (e.g. [ [ Cult_Turn_EN_7 ] ] - of course you do not type the spaces). Now you have your own webpage for writing your final exam paper. <br /> <br /> =Final exam papers=<br /> &lt;center&gt;&lt;span style=&quot;color:red&quot;&gt;Here my tips after I looked through your drafts:&lt;/span&gt;&lt;/center&gt;<br /> <br /> '''Most of the papers still miss <br /> <br /> '''1. the names in Pinyin, Hanzi, &quot;Hunan Normal University, China&quot; beneath the title.<br /> <br /> '''2. You also need to add the references including page numbers behind each paragraph.<br /> <br /> '''3. And you need to add the English for the Chinese sources in the &quot;References&quot;.<br /> <br /> '''4. At the very end, add something like “Written by - - ~ ~ ~ ~” (without spaces) and the signature then automatically is turned into the real name when you save it. <br /> <br /> '''5. The same is valid for the corrector: the fellow student should write “corrected by - - ~ ~ ~ ~” (without spaces). Of course, the original authors constantly checks the corrections suggested and is responsible for the final form of the chapter/final exam paper. For the original author to check the changes/corrections, please click on the &quot;history&quot; tab on top. You can accept or undo changes there.<br /> <br /> *[[History of Translations]] <br /> 刘胜楠 (western translation history in the Middle Age) 李习长 黄柱梁 王镇隆 叶维杰 李怡( brief history of French translation) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Comtemporary American Translation History) 周俊辉（Western translation history in late Qing Dynasty and early Republic of China) 周玖 钟雨露(western translation history in the Old Age) 钟义菲 （western translation from the Opium War to the May 4th Patriotic Movement）魏楚璇(western translation history in the Modern Age)<br /> *[[History of Translation Theories]] 李瑞洋（Translation Theories of Contemporary China--from 1949 to Present）、陈心怡(History of Translation Theories of Russia after the collapse of Soviet Union)张扬 曾俊霖（An Overview of the Development of Western Translation Theories） 张怡然 尹媛 李双（History of translation theory of France from 20th century to the present） 杨堃(French Translation Theories ) 刘运心 魏兆妍(History of Western Translation Theories in Ancient Times) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江) <br /> *[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯（论机器翻译与人工翻译的质量对比——以人工智能在体育赛事领域的应用为例）陈湘琼Chen Xiangqiong（Study on Post-editing from the Perspective of Functional Equivalence Theory ）<br /> ) 肖毅瑶(论机器翻译与人工翻译的领域优势及共生发展) 王李菲（有道神经网络机器翻译与传统人工翻译的译文对比——以经济学人语料为例）、杨柳青 徐敏赟 颜莉莉（） 颜静(On Machine Translation Under Language Intelligence——An Option and Oppotunity for Human Translators) 谢佳芬(人工智能时代下的机器翻译与人工翻译)熊敏（机器翻译对各类型文本的英汉翻译能力探究） 陈惠妮（机器翻译的译前编辑研究——以医学类文摘为例） 蔡珠凤（The Mistranslation of C-J Machine Translation of Political Statements） 陈湘琼（Study on Post-editing from the Perspective of Functional Equivalence Theory ）<br /> <br /> *[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳(俄语文化负载词的中文翻译）、罗曦（功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究） 何芩（《九章》许渊冲译本文化负载词的翻译）文化、孙雅诗、杜莉娜（旅游文本中文化负载词的翻译研究）、宫博雅、周小雪、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译)、高蜜（《老残游记》中文化负载词的翻译——多个译本比较）、殷慧珍、程杨（《边城》中文化负载词的翻译—以戴乃迭英译本为例）、胡舒情（浅谈中医典籍文化负载词的翻译策略——以《伤寒论》为例）、陈静(The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of Xi Jinping: The Governance of China)、李雯（目的论视角下《习近平谈治国理政》文化负载词研究）()<br /> *[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍<br /> *[[Appropriateness Theory]] - Yi Yangfang 易扬帆, Yin Meida 殷美达, Ei Mon Kyaw, Asep Budiman.<br /> You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals! <br /> <br /> 我在文章中所举出来的例子会涉及一些人们约定俗成的道德规范，所以我认为您的这个理论是不是表达的是不仅仅只是考虑源文本和目标文本的内容传达，更多的还会去考虑两个文本背后所需要遵循的伦理道德的意思。<br /> 可以检查译文可能会不遵循两个entities或者communities之间的伦理道德的关系，最后违背了appropriate theory。<br /> 当然我相信人工智能长期来说也会学习道德。<br /> 我觉得为了解释appropriateness theory最容易的是用一些已经存在的理论，选择一些例子让读者理解为什么这些理论都有限。<br /> 有可能skopos达到了十分，但是翻译还是不对或者不理想。但是用appropriateness theory可以指路怎么提高这个翻译例子的质量。<br /> 如果你能找到一些例子，用传统的翻译理论打不到最理想的结果，那我们可以发展自己的Appropriateness Theory想出来一个办法，怎么把这种例子也能翻译的好。<br /> 意思就是我们去寻找一些如今还存在着问题亟待解决的译本，然后尝试着用appropriateness theory去解决，而不仅仅只是局限于伦理道德这一个方面。<br /> 发展出我们自己的appropriateness theory去提高译文的质量？<br /> 当然appropriateness theory大家都可以做贡献，最后只有一种appropriateness theory，包括你们所提到的解决方法。<br /> 所以这个appropriateness theory是一个规模比较大的，它能够修理现在存在翻译理论的一些缺点。<br /> 为了找合适的具体的使用例子当然也需要完全懂传统的理论，也要理解它们的限制和缺点。<br /> 翻译者一般不按照理论翻译。只是咱们学者用理论。我们只要找一个例子我们觉得翻译的不太好。然后我们看一下按照哪一种传统的理论这个翻译应该还是好的，也没有办法提高质量。比如按照skopos是好的，因为在墓地读者达到跟在原来读者相同的作用。（比如一个假的新闻关于俄国女孩子anna在德国被难民抢劫的在俄国引起反德国的感情，翻译成德文以后在德国也引起从俄国移民到德国的俄国人少数民族的感情。按照appropriateness theory，假的新闻更笨不要翻译成其他语言，引起感情的后果是已经融入德国文化的俄国人开始意识到自己是俄国人，然后他们说他们在德国被压迫并请俄国跟德国打战争。这种例子在美国选举方面也有，在新馆疫情媒体报道方面也有）。然后我们想一想怎么还是可以提高质量（当然这个例子比较敏感，可以加两个词“假的”就提高了质量，但是也会有一些不那么敏感的例子，可以用另外一种方式提高质量）。找到了以后我们就按照这个发展Appropriateness Theory。<br /> *[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越（交际翻译理论指导下小说题材所适用的翻译方法和翻译策略——以韩国小说集《恩珠的电影》(节选)为例） 毛雅文（浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例） 毛优(俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例） 彭瑞雪（浅析对比《巴黎的忧郁》两个汉译本的翻译风格） 秦建安 颜子涵 邝艳丽（视域融合视角下《论语》英译的翻译策略--以辜鸿铭和许渊冲的英译本为例） 阳佳颖（浅析美版《甄嬛传》的字幕翻译策略）周清（Translation Strategies of George Sang’s Works from the perspective of Feminist Translation Theory: Taking Le Mare Diable as an example ）<br /> *[[Aesthetic Appreciation of Literary Translations]] 朱素珍(Appreciation and criticism of poetry translation ——A Psalm of Life) 邹岳丽 邱婷婷(On Xu Yuanzhong’s poetry translation from the theory of &quot;Three Beauties&quot; -- Taking ''Three Hundred Tang Poems'' as an example) 吴映红<br /> *[[Translation Theories Applied to Literary Translations]] 周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &quot;Jane Eyre&quot; from the Perspective of Functional Equivalence Theory）周清（A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example）<br /> *[[Comparative Studies in Translation]] 石丽青 （ A Contrastive Study of Hypotaxis and Parataxis in English and Chinese ）牟一心 饶金盈(A Comparative Study of Two English Versions of ''Shijing'' from the Perspective of Functional Equivalence Theory)罗安怡 马新（A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization） 王逸凡(A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry) 张秋怡（A study on the comparative aspect of translation on the tense of Korean and Chinese）</div>

Wu Yinghong https://bou.de/u/index.php?title=20220112_final_exam&diff=131395 2021-12-13T01:18:00Z

<p>Wu Yinghong: /* Final exam papers */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] <br /> <br /> [[20220112_final_exam|Final Exam Page]]<br /> <br /> ==Length==<br /> Please write a paper with 5,000 English letters/characters (including topic, name, abstract, key words, introduction, several points of argumentation, conclusion, references) + a Chinese topic, Chinese name, Chinese abstract and Chinese key words.<br /> <br /> The drafts have to be ready by November 17 (1,000 characters), November 24 (2,000 characters) and December 8 (5,000 characters). Proof reading has to be ready on December 15.<br /> <br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT<br /> <br /> <br /> <br /> =Samples from last year=<br /> *[[History of Translation Studies]] (Sample from last year.)<br /> =Step by step explanation how you add your final exam paper topic here=<br /> For most of the students I have created individual final exam paper webpages. Here is a step-by-step explanation how a student, who wants to add his final exam paper webpage or who wants to change a topic or a group can edit everything by himself or herself: <br /> <br /> 1. In the browser, open the website http://bou.de/u/. <br /> <br /> 2. Login to the wiki. A successful login means that you can now see your name on top of the website and on every website of this platform you find an &quot;Edit&quot; index tab. <br /> <br /> 3. Go to the website you want to edit (https://bou.de/u/wiki/20220112_final_exam). <br /> <br /> 4. Click on &quot;edit&quot;. <br /> <br /> 5. In the editor, scroll down to the place where you want to add your Name and topic. Add it. <br /> <br /> 6. Click on &quot;save&quot;. <br /> <br /> 7. Input the password &quot;wikicaptcha&quot; and click on &quot;save&quot; again. Now your name is there on the website. <br /> <br /> 8. Do the same on the group website where all the contributors to the same topic contribute: e.g. for &quot;The Cultural Turn&quot; click on that link and you get to the group website. There, click on &quot;edit&quot; and add your name as the last chapter on that page. Please do it in the same format (with =Name=) as the name above you. Do not forget to also copy the respective chapter link beneath your name entry (e.g. [ [ Cult_Turn_EN_7 ] ] - of course you do not type the spaces). Now you have your own webpage for writing your final exam paper. <br /> <br /> =Final exam papers=<br /> &lt;center&gt;&lt;span style=&quot;color:red&quot;&gt;Here my tips after I looked through your drafts:&lt;/span&gt;&lt;/center&gt;<br /> <br /> '''Most of the papers still miss <br /> <br /> '''1. the names in Pinyin, Hanzi, &quot;Hunan Normal University, China&quot; beneath the title.<br /> <br /> '''2. You also need to add the references including page numbers behind each paragraph.<br /> <br /> '''3. And you need to add the English for the Chinese sources in the &quot;References&quot;.<br /> <br /> '''4. At the very end, add something like “Written by - - ~ ~ ~ ~” (without spaces) and the signature then automatically is turned into the real name when you save it. <br /> <br /> '''5. The same is valid for the corrector: the fellow student should write “corrected by - - ~ ~ ~ ~” (without spaces). Of course, the original authors constantly checks the corrections suggested and is responsible for the final form of the chapter/final exam paper. For the original author to check the changes/corrections, please click on the &quot;history&quot; tab on top. You can accept or undo changes there.<br /> <br /> *[[History of Translations]] <br /> 刘胜楠 (western translation history in the Middle Age) 李习长 黄柱梁 王镇隆 叶维杰 李怡( brief history of French translation) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Comtemporary American Translation History) 周俊辉（Western translation history in late Qing Dynasty and early Republic of China) 周玖 钟雨露(western translation history in the Old Age) 钟义菲 （western translation from the Opium War to the May 4th Patriotic Movement）魏楚璇(western translation history in the Modern Age)<br /> *[[History of Translation Theories]] 李瑞洋（Translation Theories of Contemporary China--from 1949 to Present）、陈心怡(History of Translation Theories of Russia after the collapse of Soviet Union)张扬 曾俊霖（An Overview of the Development of Western Translation Theories） 张怡然 尹媛 李双（History of translation theory of France from 20th century to the present） 杨堃(French Translation Theories ) 刘运心 魏兆妍(History of Western Translation Theories in Ancient Times) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江) <br /> *[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯（论机器翻译与人工翻译的质量对比——以人工智能在体育赛事领域的应用为例）陈湘琼Chen Xiangqiong（Study on Post-editing from the Perspective of Functional Equivalence Theory ）<br /> ) 肖毅瑶(论机器翻译与人工翻译的领域优势及共生发展) 王李菲（有道神经网络机器翻译与传统人工翻译的译文对比——以经济学人语料为例）、杨柳青 徐敏赟 颜莉莉（） 颜静(On Machine Translation Under Language Intelligence——An Option and Oppotunity for Human Translators) 谢佳芬(人工智能时代下的机器翻译与人工翻译)熊敏（机器翻译对各类型文本的英汉翻译能力探究） 陈惠妮（机器翻译的译前编辑研究——以医学类文摘为例） 蔡珠凤（The Mistranslation of C-J Machine Translation of Political Statements） 陈湘琼（Study on Post-editing from the Perspective of Functional Equivalence Theory ）<br /> <br /> *[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳(俄语文化负载词的中文翻译）、罗曦（功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究） 何芩（《九章》许渊冲译本文化负载词的翻译）文化、孙雅诗、杜莉娜（旅游文本中文化负载词的翻译研究）、宫博雅、周小雪、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译)、高蜜（《老残游记》中文化负载词的翻译——多个译本比较）、殷慧珍、程杨（《边城》中文化负载词的翻译—以戴乃迭英译本为例）、胡舒情（浅谈中医典籍文化负载词的翻译策略——以《伤寒论》为例）、陈静(The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of Xi Jinping: The Governance of China)、李雯（目的论视角下《习近平谈治国理政》文化负载词研究）()<br /> *[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍<br /> *[[Appropriateness Theory]] - Yi Yangfang 易扬帆, Yin Meida 殷美达, Ei Mon Kyaw, Asep Budiman.<br /> You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals! <br /> <br /> 我在文章中所举出来的例子会涉及一些人们约定俗成的道德规范，所以我认为您的这个理论是不是表达的是不仅仅只是考虑源文本和目标文本的内容传达，更多的还会去考虑两个文本背后所需要遵循的伦理道德的意思。<br /> 可以检查译文可能会不遵循两个entities或者communities之间的伦理道德的关系，最后违背了appropriate theory。<br /> 当然我相信人工智能长期来说也会学习道德。<br /> 我觉得为了解释appropriateness theory最容易的是用一些已经存在的理论，选择一些例子让读者理解为什么这些理论都有限。<br /> 有可能skopos达到了十分，但是翻译还是不对或者不理想。但是用appropriateness theory可以指路怎么提高这个翻译例子的质量。<br /> 如果你能找到一些例子，用传统的翻译理论打不到最理想的结果，那我们可以发展自己的Appropriateness Theory想出来一个办法，怎么把这种例子也能翻译的好。<br /> 意思就是我们去寻找一些如今还存在着问题亟待解决的译本，然后尝试着用appropriateness theory去解决，而不仅仅只是局限于伦理道德这一个方面。<br /> 发展出我们自己的appropriateness theory去提高译文的质量？<br /> 当然appropriateness theory大家都可以做贡献，最后只有一种appropriateness theory，包括你们所提到的解决方法。<br /> 所以这个appropriateness theory是一个规模比较大的，它能够修理现在存在翻译理论的一些缺点。<br /> 为了找合适的具体的使用例子当然也需要完全懂传统的理论，也要理解它们的限制和缺点。<br /> 翻译者一般不按照理论翻译。只是咱们学者用理论。我们只要找一个例子我们觉得翻译的不太好。然后我们看一下按照哪一种传统的理论这个翻译应该还是好的，也没有办法提高质量。比如按照skopos是好的，因为在墓地读者达到跟在原来读者相同的作用。（比如一个假的新闻关于俄国女孩子anna在德国被难民抢劫的在俄国引起反德国的感情，翻译成德文以后在德国也引起从俄国移民到德国的俄国人少数民族的感情。按照appropriateness theory，假的新闻更笨不要翻译成其他语言，引起感情的后果是已经融入德国文化的俄国人开始意识到自己是俄国人，然后他们说他们在德国被压迫并请俄国跟德国打战争。这种例子在美国选举方面也有，在新馆疫情媒体报道方面也有）。然后我们想一想怎么还是可以提高质量（当然这个例子比较敏感，可以加两个词“假的”就提高了质量，但是也会有一些不那么敏感的例子，可以用另外一种方式提高质量）。找到了以后我们就按照这个发展Appropriateness Theory。<br /> *[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越（交际翻译理论指导下小说题材所适用的翻译方法和翻译策略——以韩国小说集《恩珠的电影》(节选)为例） 毛雅文（浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例） 毛优(俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例） 彭瑞雪（浅析对比《巴黎的忧郁》两个汉译本的翻译风格） 秦建安 颜子涵 邝艳丽（视域融合视角下《论语》英译的翻译策略--以辜鸿铭和许渊冲的英译本为例） 阳佳颖（浅析美版《甄嬛传》的字幕翻译策略）周清（Translation Strategies of George Sang’s Works from the perspective of Feminist Translation Theory: Taking Le Mare Diable as an example ）<br /> *[[Aesthetic Appreciation of Literary Translations]] 朱素珍(Appreciation and criticism of poetry translation ——A Psalm of Life) 邹岳丽 邱婷婷(On Xu Yuanzhong’s poetry translation from the theory of &quot;Three Beauties&quot; -- Taking ''Three Hundred Tang Poems'' as an example)<br /> *[[Translation Theories Applied to Literary Translations]] 周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &quot;Jane Eyre&quot; from the Perspective of Functional Equivalence Theory）周清（A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example）<br /> *[[Comparative Studies in Translation]] 石丽青 （ A Contrastive Study of Hypotaxis and Parataxis in English and Chinese ）牟一心 饶金盈(A Comparative Study of Two English Versions of ''Shijing'' from the Perspective of Functional Equivalence Theory)罗安怡 马新（A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization） 王逸凡(A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry) 张秋怡（A study on the comparative aspect of translation on the tense of Korean and Chinese）</div>

Wu Yinghong https://bou.de/u/index.php?title=Machine_translation&diff=131394 2021-12-13T01:16:15Z

<p>Wu Yinghong: </p> <hr /> <div>'''Machine Translation - A challenge or a chance for human translators?'''<br /> <br /> [[Machine_translation|Overview Page of Machine Translation]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Machine_Trans_EN_1]] [[Machine_Trans_EN_2]] [[Machine_Trans_EN_3]] [[Machine_Trans_EN_4]] [[Machine_Trans_EN_5]] [[Machine_Trans_EN_6]] [[Machine_Trans_EN_7]] [[Machine_Trans_EN_8]] [[Machine_Trans_EN_9]] [[Machine_Trans_EN_10]] [[Machine_Trans_EN_11]] [[Machine_Trans_EN_12]] [[Machine_Trans_EN_13]] [[Machine_Trans_EN_14]] [[Machine_Trans_EN_15]] [[Machine_Trans_EN_16]] [[Machine_Trans_EN_17]] [[Machine_Trans_EN_18]] [[Machine_Trans_EN_19]] [[Machine_Trans_EN_20]] [[Machine_Trans_EN_21]] [[Machine_Trans_EN_22]] [[Machine_Trans_EN_23]] [[Machine_Trans_EN_24]] [[Machine_Trans_EN_25]] [[Machine_Trans_EN_26]] [[Machine_Trans_EN_27]] [[Machine_Trans_EN_28]] [[Machine_Trans_EN_29]] [[Machine_Trans_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =Chapter 1:A Comparison Between the Quality of Machine Translation and Human Translation——A Case Study of the Application of artificial intelligence in Sports Events=<br /> '''论机器翻译与人工翻译的质量对比——以人工智能在体育赛事领域的应用为例'''<br /> <br /> 卫怡雯 Wei Yiwen, Hunan Normal University, China<br /> <br /> [[Machine_Trans_EN_1]]<br /> <br /> =Chapter 3：On the Realm Advantages And Mutual Development of Machine Translation And Huamn Translation)=<br /> &quot;'论机器翻译与人工翻译的领域优势及共同发展'&quot;<br /> <br /> 肖毅瑶 Xiao Yiyao, Hunan Normal University, China<br /> [[Machine_Trans_EN_3]]<br /> <br /> =Chapter 4 : A Comparison Between Machine Translation of Netease and Traditional Human Translation—A Case Study of The Economist Articles)= <br /> '''网易有道机器翻译与人工翻译的译文对比——以经济学人语料为例'''<br /> <br /> 王李菲 Wang Lifei, Hunan Normal University<br /> <br /> [[Machine_Trans_EN_4]]<br /> <br /> =Chapter 5: Muhammad Saqib Mehran - Problems in translation studies=<br /> [[Machine_Trans_EN_5]]<br /> <br /> =6 徐敏赟(Machine Translation Based on Neural Network --Challenge or Chance?)=<br /> [[Machine_Trans_EN_6]]<br /> <br /> =7 颜莉莉(The Cultivation of artificial intelligence and translation talents in the Belt and Road Initiative)=<br /> [[Machine_Trans_EN_7]]<br /> <br /> =Chapter 8: On Machine Translation Under Lanuguage Intelligence——An Option and Opportunity for Human Translators=<br /> '''论语言智能下的机器翻译——译者的选择与机遇'''<br /> <br /> 颜静 Yan Jing, Hunan Normal University, China<br /> <br /> [[Machine_Trans_EN_8]]<br /> <br /> =9 谢佳芬（ Machine Translation and Artificial Translation in the Era of Artificial Intelligence）=<br /> [[Machine_Trans_EN_9]]<br /> <br /> =10 熊敏(Research on the English Chinese Translation Ability of Machine Translation for Various Types of Texts)=<br /> [[Machine_Trans_EN_10]]<br /> ===Abstract===<br /> The history of machine translation can be traced to 1940s, undergoing germination, recession, revival and flourish. Nowadays, with the rapid development of information technology, machine translation technology emerged and is gradually becoming mature. Whether manual translation can be replaced by machine translation becomes a widely-disputed topic. So in order to explore the ability of machine translation, I adopts two versions of translation, which are manual translation and machine translation(this paper uses Youdao translation) for different types of texts(according to Peter Newmark's types of text：informative text, expressive text and vocative text). The results are quite different in terms of quality and accuracy. The results show that machine translation is more suitable for informative text for its brevity, while the expressive texts especially literary works and vocative texts are difficult to be translated, because there are too many loaded words and cultural images in expressive text and dependence on the readers. To draw a conclusion, the relationship between machine translation and manual translation should be complementary rather than competitive.<br /> <br /> ===Key words===<br /> machine translation; manual translation; Newmark's type of texts<br /> <br /> ===题目===<br /> Research on the English Chinese Translation Ability of Machine Translation for Various Types of Texts<br /> <br /> ===摘要===<br /> 机器翻译的历史可以追溯到上个世纪40年代，经历了萌芽期、萧条期、复兴期和繁荣期四个阶段。如今，随着信息技术的高速发展，机器翻译技术日益成熟，于是机器翻译能不能替代人工翻译这个话题引起了广泛热议。为了探究机器翻译的能力水平是否足以替代人工翻译，本人根据皮特纽马克的文本类型分类理论（信息类文本，表达文本，呼吁文本），选择了相应的译文类型，并且将其机器翻译的版本以及人工翻译的版本进行对比。结果发现，就质量和准确度而言，译文的水平大相径庭。因为其简洁的特性，机器比较适合翻译信息文本。而就表达文本，尤其是文学作品，因其存在文化负载词及相应的文化现象，所以机器翻译这类文本存在难度。而呼唤文本因其目的性以及对读者的依赖性较强，翻译难度较大。由此得知，机器翻译和人工翻译的关系应该是互补的，而不是竞争的。<br /> <br /> ===关键词===<br /> 机器翻译；人工翻译；纽马克文本类型<br /> <br /> ===1. Introduction===<br /> ====1.1.Introduction to machine translation====<br /> Machine translation, also known as computer translation is a technique to translating through machine translator, such as Google translation and Youdao translation. Machine translation is one of the branches of computational linguistics, ranging from computer science, statistics, information science and so on. Machine translation plays an important role in all aspects.<br /> Machine translation can be traced back to 1940s, when British engineer Booth and American engineer Weaver proposed using computer to translate and started to study machines used for translation. And the first machine translating system launched in 1954, used in English and Russian translation. And this means machine translation becomes a reality. However, the arrival of new things always accompanies barriers and setbacks. In the 1960s, reports from ALPAC (Automated Language Processing Advisory Committee) showed studies on machine translation had stagnated for a decade. At that time, due to the high cost of machine, choosing human translators to finish translating works was more economical for most companies. What’s worse, machine had difficulty in understanding semantic and pragmatic meanings. Fortunately, in the 1970s, with the advance and popularity of computer, machine translation was gradually back on track. With the development of science and technology, machine translation has better technological guarantee, such as artificial intelligence and computer technology. In the last decades, from the late 90s till now, machine translation is becoming more and more mature. The initial rule-oriented machine translation has been updated and Corpus-aided machine translation appears. And nowadays, technology in voice recognition has been further developed. This technique is frequently applied in speech translation products. Users only need to speak source language to the online translator and instantly it will speak out the target version. But machine can’t fully provide precise and accurate translation without any grammatical or semantic problems. Machine can understand the literal meaning of texts, but not the meaning in context. For example, there is polysemy in English, which refers to words having multiple meanings. So when translating these words, translators should take contexts into consideration. But machine has troubles in this way. In addition, machine has no feeling or intention. Hence, it is also difficult to convey the feelings from the source language.<br /> <br /> ====1.2.Process of machine translation====<br /> The process of manual translation is different from that of machine translation. Here is the process of the former. (1) Understand source language. (2) Use target language to organize language. (3) Generate translation. Unlike manual translation, machine translation tends to analyze and code source language first, then look for related codes in corpus, and work out the code that represents target language, generating translation. But they share a common feature, which is that Lexicon, grammatical rules and syntactic structure are taken into consideration. This is one of the biggest challenges for machine translation.<br /> <br /> ===2.Theorectical framework===<br /> ====2.1Newmark’s text typology====<br /> Text typology is a theory from linguistics. It undergoes several phrases. Karl Buhler, a German psychologist and linguist defines communicative functions into expressive, information and vocative. Then Roman Jakobson proposes categorization of texts, which are intralingual translation, interlingual translation and intersemiotic translation. Accordingly, he defines six main functions of language, including the referential function, conative function, emotive function, poetic function, metalingual function and the phatic function. Based on the two theories, Peter Newmark, a translation theorist, summarizes the language function into six parts: the informative function, the vocative function, the expressive function, the phatic function, the aesthetic function, and the metalingual function. Later, he further divided texts into informative type, expressive text and vocative type according to the linguistic functions of various texts. <br /> The core of the informative texts is the truth. It is to convey facts, information, knowledge of certain topics, reality and theories. The language style of the text is objective, logical and standardized. Reports, papers, scientific and technological textbooks are all attributed to informative texts. Translators are required to take format into account for different styles.<br /> The core of the expressive text is the sender’s emotions and attitudes. It is to express sender’s preferences, feelings, views and so on. The language style of it is subjective. Imaginative literature, including fictions, poems and dramas, autobiography and authoritative statements belong to expressive text. It requires translators to be faithful to the source language and maintain the style.<br /> The core of the vocative text is readership. It is to call upon readers to act, think, feel and react in the way intended by the text. So it is reader-oriented. Such texts as advertisement, propaganda and notices are of vocative text. Newmark noted that translators need to consider cultural background of the source language and the semantic and pragmatic effect of target language. If readers can comprehend the meaning at once and do as the text says, then the goal of information communication is achieved.<br /> To draw a conclusion, informative texts focus on the information and facts. Expressive texts center on the mind of addressers, including feelings, prejudices and so on. And vocative texts are oriented on readers and call on them to practice as the texts say.<br /> <br /> ====2.2Study method====<br /> Manual translations of the three texts are selected from authoritative versions and universally acknowledged. And machine translations of those come from Youdao Translator. And in this thesis I will compare and evaluate the two methods in word diction, sentence structure, word order and redundancy.<br /> <br /> ===3.Comparison and analysis of machine translation and manual translation ===<br /> ====3.1Informative text ====<br /> （1）English into Chinese<br /> <br /> ①Source language:<br /> <br /> Keep the tip of Apple Pencil clean, as dirt and other small particles may cause excessive wear to the tip or damage the screen of i-pad.<br /> <br /> Target language:<br /> <br /> Machine translation: Apple Pencil笔尖应保持清洁，灰尘等小颗粒可能会导致笔尖过度磨损或损坏ipad屏幕。<br /> <br /> Manual translation: 保持Apple Pencil铅笔的笔尖干净，因为灰尘和其他微粒可能会导致笔尖的过度磨损或损坏iPad屏幕。<br /> <br /> Analysis: Here is the instruction of Apple Pencil. And the manual translation is the Chinese version on the instruction.Product instruction tends to be professional, since there are many terms for some concepts. Machine can easily identify these terms and provide related words to translate. The machine version is faithful and expressive to the source language. So it is well-qualified and readable for readers to understand the instruction. So we can use machine to translate informative text.<br /> <br /> ②Source language:<br /> <br /> China on Saturday launched a rocket carrying three astronauts-two men and one woman - to the core module of a future space station where they will live and work for six months, the longest orbit for Chinese astronauts.<br /> <br /> Target language:<br /> <br /> Machine translation: 周六，中国发射了一枚运载三名宇航员(两男一女)的火箭，进入未来空间站的核心舱，他们将在那里生活和工作6个月，这是中国宇航员最长的轨道。<br /> <br /> Manual translation: 周六，中国发射了一枚搭载三名宇航员(两男一女)的火箭，进入未来空间站的核心舱，他们将在那里生活和工作6个月，这是中国宇航员最漫长的一次轨道飞行。<br /> <br /> Analysis: This is a news from Reuters, reporting that China has launched a rocket.The meaning of the two translations is almost the same, except for some word diction. But there are some details dealt with different choice. For example, the last sentence of the machine translation is a bit of obscure and direct. There are some ambiguous words and expressions.<br /> <br /> (2)Chinese into English<br /> <br /> Source language:湖南省博物馆是湖南省最大的历史艺术类博物馆，占地面积4.9万平方米，总建筑面积为9.1万平方米，是首批国家一级博物馆，中央地方共建的八个国家级重点博物馆之一、全国文化系统先进集体、文化强省建设有突出贡献先进集体。<br /> <br /> Target language:<br /> Manual translation: As the largest history and art museum in Hunan province, the Hunan Museum covers an area of 49,000㎡, with the building area reaching 91,000㎡. It is one of the first batch of national first-level museums and one of the first eight national museums co-funded by central and local governments.<br /> <br /> Machine translation: Museum in hunan province is one of the largest historical art museum in hunan province, covers an area of 49000 square meters, a total construction area of 91000 square meters, is the first national museum, the central place to build one of the eight national key museum, national cultural system advanced collectives, strong culture began with outstanding contribution of advanced collective.<br /> <br /> Analysis: Machine translation is not faithful enough in content. For instance, “首批国家一级博物馆” is translated into “first national museum”, which is not the meaning of the source language. And there are some obvious grammar mistakes in the machine translation. For example, machine translates it into just one sentence but there are multiple predicates in it. So it is not grammatically permissible. What’s more, the sentence structure of machine translation is confusing and the focus is not specific enough.<br /> <br /> ====3.2Expressive text ====<br /> (1)English into Chinese<br /> <br /> Source language:<br /> <br /> An individual human existence should be like a river- small at first, narrowly contained within its banks, and rushing passionately past rocks and over waterfalls. Gradually the river grows wider, the banks recede, the waters flow more quietly, and in the end, without any visible breaks, they become merged in the sea, and painlessly lose their individual being.<br /> <br /> Target language:<br /> <br /> Machine translation: 一个人的存在应该像一条河流——开始很小，被紧紧地夹在两岸中间，然后热情奔放地冲过岩石，飞下瀑布。渐渐地，河面变宽，两岸后退，水流更加平缓，最后，没有任何明显的停顿，它们汇入大海，毫无痛苦地失去了自己的存在。<br /> <br /> Manual translation:人生在世，如若河流；河口初始狭窄，河岸虬曲，而后狂涛击石，飞泻成瀑。河道渐趋开阔，峡岸退去，水流潺缓，终了，一马平川，汇于大海，消逝无影。<br /> <br /> Analysis: Here is a well-known metaphor in the prose How to Grow Old written by Bertrand Russell. The manual translation is written by Tian Rongchang.This is a philosophical prose with graceful language. Literary translation is a most important and difficult branch of translation. Translator should focus on the literal meaning, culture, writing style and so on. It is a combination of beauty and elegance. Therefore, translators find it in a dilemma of beauty and faithfulness, let alone translating machine. Compared with manual translation, machine translation has difficulty in word choice. It is faithful and expressive, but not elegant enough.<br /> <br /> (2)Chinese into English<br /> <br /> Source language:没有一个人将小草叫做“大力士”，但是它的力量之大，的确是世界无比。这种力，是一般人看不见的生命力，只要生命存在，这种力就要显现，上面的石块，丝毫不足以阻挡。因为它是一种“长期抗战”的力，有弹性，能屈能伸的力，有韧性，不达目的不止的力。<br /> <br /> Target language:<br /> <br /> Machine translation: No one calls the little grass &quot;hercules&quot;, but its power is truly matchless in the world. This force is invisible life force. As long as there is life, this force will show itself. The stone above is not strong enough to stop it. Because it is a &quot;long-term resistance&quot; of the force, elastic, can bend and extend force, tenacity, not to achieve the purpose of the force.<br /> <br /> Manual translation: Though nobody describes the little grass as a “husky”, yet its herculean strength is unrivalled. It is the force of life invisible to naked eye. It will display itself so long as there is life. The rock is utterly helpless before this force- a force that will forever remain militant, a force that is resilient and can take temporary setbacks calmly, a force that is tenacity itself and will never give up until the goal is reached. (by Zhang Peiji)<br /> <br /> Analysis:This is the excerpt of a well-known Chinese prose written by Xia Yan. It is written during the war of Resistance Against Japan. So the prose holds symbolic meaning, eulogizing the invisible tenacious vitality so as to encourage Chinese to have confidence in the anti-aggression war. Compared with manual translation, machine translation is much more abstract and confusing, especially for the word diction. For example, “大力士” is translated into “hercules” which is a man of exceptional strength and size in Greek and Roman Mythology, making it difficult to understand if readers of target language have no idea of the allusion. What’s worse, the machine version doesn’t reveal the symbolic meaning of the text, which is the core of this prose.<br /> <br /> ====3.3Vocative text ====<br /> <br /> (1)English into Chinese<br /> <br /> ①Source language:<br /> <br /> iPhone went to film school, so you don’t have to. (Advertisement of iPhone13)<br /> <br /> Target language:<br /> <br /> Machine translation: iPhone上的是电影学院，所以你不用去。<br /> <br /> Manual translation:电影专业课，iPhone同学替你上完了。<br /> <br /> Analysis：Here are advertisements of iPhone on Apple official website. There is a personification in the source language. It is used to stress the advancement and proficiency in camera, which is an appealing selling point to potential buyers. Compared with manual translation, machine translation is plain and not eye-catching enough for customers.<br /> <br /> ②Source language: <br /> <br /> 5G speed OMGGGGG<br /> <br /> Machine language: 5克的速度 OMGGGGG<br /> <br /> Manual translation:<br /> <br /> iPhone的5G 巨巨巨巨巨5G<br /> <br /> Analysis: The “G” in the source language is the unit of speed, standing for generation. However, it is mistaken as a unit of weight, representing gram in the machine translation. So the meaning is not faithful to the source language at all. As for manual translation, it complies with the source in form. Specifically speaking, five “G”s in the former complies with five characters “巨”in the latter. And the pronunciation of the two is similar. There are two layers of meaning for the 5 “G”s. One exclaims the fast speed of 5 generation network and the other new technology. In the manual version, “巨”can be used to show degree, meaning “quite” or “very”. <br /> <br /> ③Source language: <br /> <br /> History, faith and reason show the way, the way of unity. We can see each other not as adversaries but as neighbors. We can treat each other with dignity and respect, we can join forces, stop the shouting and lower the temperature. For without unity, there is no peace, only bitterness and fury.&quot;<br /> <br /> Target language:<br /> <br /> Machine translation: 历史、信仰和理性指明了团结的道路。我们可以把彼此视为邻居，而不是对手。我们可以尊严地对待彼此，我们可以联合起来，停止大喊大叫，降低温度。因为没有团结，就没有和平，只有痛苦和愤怒。<br /> <br /> Manual translation:历史、信仰和理性为我们指明道路。那是团结之路。我们可以把彼此视为邻居，而不是对手。我们可以有尊严地相互尊重。我们可以联合起来，停止喊叫，减少愤怒。因为没有团结就没有和平，只有痛苦和愤怒<br /> <br /> Analysis: Speech is a way to propagate some activity in public. It is an art to inspire emotion of the audience. The source language is the excerpt of Joe Biden’s inaugural speech. The speech should be inspiring and logic. The machine translation has some misunderstanding. Taking the translation of “lower the temperature” for example, machine only translates its literal meaning, relating to the temperature itself, without considering the context. What’s more, it is less logic than the manual one. Therefore, it adds difficulty to inspire the audience and infect their emotion.<br /> <br /> ===4.Common mistakes in machine translation ===<br /> <br /> ====4.1 lexical mistakes ====<br /> <br /> Common lexical mistakes include misunderstandings in word category, lexical meaning and emotive and evaluative meaning. Misunderstanding in word category shows in the classification of word in the source language. As for misunderstanding in lexical meaning, machine has difficulty in precisely reflecting the meaning of the original texts, due to different cultural background and different language system. And for misunderstanding in emotive meaning, machine has no intention and emotion like human-beings. Therefore, it’s impossible for it to know writers’ feelings and their writing purposes. So sometimes, it may translate something negative into something positive.<br /> <br /> ====4.2 grammatical mistakes====<br /> <br /> Grammatical analysis plays an important part in translation. Normally speaking, every language has its own unique grammatical rules. So in the process of translation, if translators don’t know the formation rule well, the sentence meaning will be affected. Even though all the lexical meanings are well-known by translators, the lack of consciousness of grammaticality makes it harder to arrange words according to sequential rule. English tends to be hypotactic, while Chinese tends to be paratactic. English sentences are connected through syntactic devices and lexical devices. While Chinese sentences are semantically connected, which means there are limited logical words and connection words in Chinese. So when translating English sentence, we should first analyze its grammaticality and logical structure and then rearrange its sequence. However, online translating machine has troubles in grammatical analysis, which makes its improvement more difficult.<br /> <br /> ====4.3 other mistakes====<br /> <br /> The two mistakes above are the internal ones. Apart from mistakes in linguistic system, there are some mistakes in other aspects, such as cultural background.<br /> <br /> ===5.Reasons for its common mistakes ===<br /> <br /> ====5.1 Difference in two linguistic system====<br /> <br /> With different history, English and Chinese have different ways of expression. Commonly speaking, English is synthetic language which expresses grammatical meaning through inflection such as tense and Chinese is analytic language which expresses grammatical meaning through word order and function word. In addition, English is more compact with full sentences. Subordinate sentence is one of the most important features in modern English. Chinese, on the other hand, is more diffusive with minor sentences.<br /> <br /> ====5.2 Difference in thinking patterns and cultural background====<br /> <br /> According to Sapir-Whorf’s Hypothesis, our language helps mould our way of thinking and consequently, different languages may probably express their unique ways of understanding the world. For two different speech communities, the greater their structural differentiations are, the more diverse their conceptualization of the world will be. For example, western culture is more direct and eastern culture more euphemistic. What’s more, English culture tends to be individualism, focusing on detail, through which it reflects the whole, while Chinese culture tends to be collective. Different thinking patterns will add difficulty for machine to translate texts.<br /> <br /> ====5.3 Limitation of computer====<br /> <br /> Recently, there are some breakthroughs and innovation in machine translation. However, due to its own limitation, online translation has limitation in some ways. Firstly, compared with machine, human brain is much more complicated, consisting of ten billions of neuron, each of which has different function to affect human’s daily activities and help humans avoid some errors. However, computer can only function according to preset programming has no intention or consciousness. Until now, countless related scholars have invested much time in machine translation. They upload massive language database, which include almost all linguistic rules. But computers still fail to precisely reflect the meaning of source language for many times due to the complexity and flexibility of language. On the other hand, computers can’t take context into consideration. During translation, it is often the case that machine chooses the most-frequently used meaning of one word. So without the correct and exact meaning, readers are easier to feel confused and even misunderstand the meaning of source language.<br /> <br /> ===6.Conclusion===<br /> From the analysis above, we can draw a conclusion that machine deals with informative text best, followed by non-literary translation of expressive text. What’s more, machine can be a useful tool to get to know the gist and main idea of a specific topic, for the simple sentence structure and numerous terms. And it can improve translating efficiency with high speed. But machine has difficulty in translating literary works, especially proses and poems.<br /> <br /> Machine translation has mixed future. From the perspective of commercial, machine translation boasts a bright future. With the process of globalization, the demand for translation is increasing accordingly. On one hand, if we only depend on human translator to deal with translating works, the quality and accuracy of translation can be greatly affected. On the other hand, if machine is used properly to do some basic work, human translators only need to make preparation before translating, progress, polish and other advanced work, contributing to highly-qualified translation and high working efficiency.<br /> <br /> However, compared with manual translation, machine translation has a bleak future. It is still impossible for machine to replace interpreter or translator in a short term. With intelligence and initiative, humans are able to learn new knowledge constantly, which machine will never accomplish. Besides, machine is not used to replace translators but to assist them in work. In other words, translators and machine carry out their own duties and they are not incompatible.<br /> <br /> To draw a conclusion, although there are certain limitations of machine translation, it can serve as a catalyst for translating works. Therefore, with the rapid development of artificial intelligence and related technology, there are still many opportunities for machine translation.<br /> <br /> ===Reference ===<br /> <br /> Cui Zihan 崔子涵.机器翻译译文质量对比——以谷歌翻译和DeepL为例[J] [Comparison among Machine Translation--Taking Google Translation and Deepl for Example].Overseas English 海外英语,2021(15):182-183.<br /> <br /> Li Deyi 李德毅. (2018). 人工智能导论 [Introduction to Artificial Intelligence]. Beijing: China Science and Technology Press 中国科学技术出版社.<br /> <br /> Qiu Quanju 仇全菊.大数据时代背景下机器翻译及其发展趋势[J][Machine Translation and its Development Trend under the Background of Big Data Era]. 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Shanghai Foreign Languages Education Press 上海外语教育出版社, 2002.<br /> <br /> Chen Cheng陈诚.机器翻译技术的综述[J][Overview of Machine Translation Technology].Electronic Techonology 电子技术,2021,50(11):290-291.<br /> <br /> He Xinyu何馨宇.机器翻译的发展及其对翻译职业化的影响研究[J] [The Development of Machine Translation and its Effect on Professional Transltors].Overseas English 海外英语,2021(20):48-49.<br /> <br /> He Wen 何雯, Wang Xiufeng 王秀峰.信息型文本的在线机器翻译错误研究[J][Research on Errors in Online Machine Translation of Informative text ].Overseas English海外英语,2021(15):188-189.<br /> <br /> Li Hanji 李晗佶. (2021). 人工智能时代翻译技术与译者关系演变与重构 [Evolution and reconstruction of the relationship between translation technology and translators in the era of artificial intelligence]. 西华师范大学学报(哲学社会科学版) Journal of West China Normal University (PHILOSOPHY AND SOCIAL SCIENCES EDITION) (2021-12-04) 1-6.<br /> <br /> Wei Guang魏光. 人工翻译与机器翻译译文编辑比较研究[J][Comparative Study of Translation Editing between Manual Translation and Machine Translation]. Overseas English 海外英语,2021(19):18-19+21.<br /> <br /> =11 陈惠妮=(Study on Pre- editing of Machine Translation - A Case Study of Medical Abstracts)=<br /> [[Machine_Trans_EN_11]]<br /> ===Abstract===<br /> At present, globalization is accelerating and the market demand for language services is rapidly increasing . Machine translation, as an important translation method, can greatly improve translation efficiency due to its low cost and high speed. However, because of the limitations of machine translation and the differences between Chinese and English language, machine translation is not accurate enough. In order to balance translation efficiency and translation quality, a great number of manual revisions in translation are required for the machine translating texts. Medical papers are specialized, special and purposeful, so it requires accurate,qualified and professional translation. However, the quality of translations by machine is inefficient to meet the high-quality requirements of medical papers translation. Therefore, the introduction of pre-editing can greatly improve the efficiency and quality of machine translation.<br /> <br /> ===Key words===<br /> Pre-editing, Machine translation, Medical texts<br /> <br /> ===题目===<br /> Study on Pre- editing of Machine Translation - A Case Study of Medical Abstracts<br /> <br /> ===摘要===<br /> 在全球化加速发展的今天，市场对语言服务的需求迅速增加。机器翻译作为一种重要的翻译途径，由于其成本低、速度快，可以大大提高翻译效率。然而，由于机器翻译的局限性以及中英文语言的差异，机器翻译的准确性不高。为了平衡翻译效率和翻译质量，机器翻译文本需要大量的手工修改。<br /> 医学论文具有专业性、特殊性和目的性，要求其译文准确、合格、专业。然而，机器翻译的质量较低，无法满足医学论文对翻译的高质量要求。因此，译前编辑的引入可以大大提高机器翻译的效率和质量。<br /> <br /> ===关键词===<br /> 译前编辑；机器翻译；医学文本<br /> <br /> ===1. Introduction===<br /> ===1.1 Definition of Machine Translation===<br /> As Cronin(2013) revealed: &quot;Translation is undergoing a revolutionary upheaval. The influence of digital technology and the Internet on translation is continuous, extensive and profound. From the popularity of automatic online translation applications, translation revolution is everywhere (Cronin,2013) However,the concept of machine translation was firstly proposed in the 1930s. Since 1940s, the machine translation technology has been evolving from rule-based machine translation (RBMT) to statistical machine translation (SMT), and to neural machine translation (NMT). Machine translation refers to the automatic translation of source language into target language by using a computer system. That is, machine translation refers to the automatic translation of text from one language into another natural language by computer software or other online translation webs. Machine translation is also defined as the process of “using a computer system to automatically translate text or speech from one natural language to another” according to the definition by ISO (Cui, 2014).O 'Brien (2002) defines it as &quot;the behavior of modifying errors in machine translation to ensure that the target translation meets certain quality requirements&quot;. On the basic level, machine translation performs mechanical substitution of words in one language for words in another language, but that rarely produces a good translation, therefore, recognition of the whole phrases and their closest counterparts in the target language is needed. Not all words in one language have equivalents in another language, and many words have more than one meaning. A huge demand for translation is greatly needed in today’s global world, which creates new opportunities for the development of machine translation, attracts more and more attention and becomes one of the current research focuses.<br /> <br /> ===1.2 Definition of Pre-editing===<br /> Pre-editing means to adjust and modify the source language to make it fit more with the characteristics of the machine translation software before putting the source language before the into machine translation, so as to improve the quality of the translation machine translation (Wei Changhong, 2008:93-94). Pre-editing is to modify the original text before putting it into machine translation software, in order to improve the recognition rate of machine translation, optimize the output quality of translated text and reduce the workload of post-editing. Because pre-translation editing only needs to be modified in one language, the operation is simpler than post-translation editing, which can realize the double improvement of quality and efficiency. A good pre-editing translation can help machine translation more smoothly, thus improving the machine readability and quality of the output translation. Pre-editing is mostly applied in the following situations: one is when the original text is of poor quality and the machine is difficult to recognize the meaning of the sentence, such as user generated content with poor readability and translatability (Gerlach et al, 2003:45-53); Documents that need to be published in multiple languages; Next is when the original text contains a lot of jargon; The last is the original text has a corresponding translation memory bank. If the original text is edited, it can better match the content of the translation memory bank. Pre-editing is a process of identifying problems. It requires to pre-edit the source texts before putting it into machine translation according to the requirements, listing the expressions or sentences that may have trouble in machine translation and then pre-edit it by human. The purpose is to enable the computer to translate better, improve the translatability of machine translation. (Slype G V &amp; Guinet J F &amp; Seitz F,1984:115)<br /> <br /> ===1.3 Machine Translation Mode===<br /> According to the different knowledge acquisition methods, machine translation modes can be classified as follows: one is rule-based machine translation, which is based on bilingual dictionaries and a library of language rules for each language. The quality of translation depends on whether the source language conforms to the existing rules, but the inexhaustible rules are the hinders of this model. The second mode is machine translation based on statistics. This translation model relies on the principles of mathematics and statistics to find various existing translations corresponding to the translation tasks through the employment of corpus, analyzing the frequency of their occurrence and selecting the translation with the highest frequency for output. The disadvantage of this translation model is that it ignores the flexibility of language and the importance of context. The last one is neural network language model. This model is different from previous translation models in that it uses end-to-end neural network to realize automatic translation between natural languages. At present, the quality of its translation is much higher than that of the previous translation models.<br /> ===1.4 Source of Study Abstracts===<br /> The core medical journals from domestic are selected in order to make the paper more representative and authoritative, such as National Medical Journal of China, Journal of Peking University (Health Science), and Journal of Third Military Medical University. All of them include basic medical science, biomedical technology, laboratory medical science and other fields. In this way, the pre-editing approaches included are applicable enough to machine translation of medical abstracts.<br /> ===1.5 Selection of Translation Software===<br /> Generally, machine translation software includes Google Translation, Youdao Translator and Niu Translation, which has their own special use in translation. Take Google as an example, it is more like neurons in human brain, enabling to learn and collect information to establish connections with its neural machine translator’s neurons. However, it also causes many errors because of the lack of enough information. In this paper, contrastive analysis will be carried on by using Google translation. On the one hand, being a pioneer in the translation of NET, it is inevitably to sue Google as the translation software to translate medical texts in this paper. Comparing the program called “Google brain”, other NMT of translation software are relatively disadvantages. On the other hand, the Google translation enjoys the largest users in the world, with its downloads of more than one billion. The output quality of Google translation is more correct and complete than other machine translation software. With years of development and improvement, Google Translation has been greatly promoted. In this paper, Chinese medical abstract will be automatically translated by Google translation, and then the translation output will be compared with the translation by human and the publication of English abstracts. The main purpose is to prove that the improvement and promotion of quality and accuracy in the medical abstracts will be obtained through the pre-editing approaches.<br /> <br /> ===2.Language Characteristics and Error Division===<br /> Since Chinese and English are two different languages, it is quite neccessary to identify their own characteristics so as to better analyze and understand the two languages. Tytler (1978) argued in his Essay on the Principles of Translation that there are three principles of translation that in all the translation should give readers the same feelings as the source text, except for complete transcript of ideas. There actually also exit some mistakes of these two languages. So the following will make some clarrifications of these two languages to ensure more accurate translation.<br /> <br /> ===2.1 Language Characteristics of Medical Abstracts===<br /> Chinese and English belong to different language systems, so there are differences in their language structure and the way users think of the languages. When using machine translation from Chinese to English, due to the unequal language levels, there will be many mistakes in the translation process, especially for ESP texts, such as medical papers. <br /> Here, these differences mainly refer to the linguistic characteristics of medical abstracts. In medical abstracts, it usually includes structured and unstructured abstracts. Although in different forms, they both describe the purpose, methods and conclusions of the research.<br /> In the method section of medial abstract, several Chinese sentences can be connected with commas, but each sentence may convey different information. In contrast, English sentences contain a great deal of information, but in order to ensure clarity, some modifiers need to be isolated and then reconstructed. However, in Chinese-English machine translation, a lot of information is put into the sentence because the machine segments the sentence on the basis of the full comma.<br /> In addition, subjectless sentence is used in the objective and method parts of Chinese medical abstracts. The subjectless sentence means the sentence without or free from subject and is usually employed in two contexts. The first is &quot;needless to say&quot;. In Chinese sentences, it is common to omit the subject of the sentence. Chinese sentences can convey meanings by using incomplete sentence structures, so Chinese speakers can understand the meanings of the sentences even though the sentence subject is omitted. The second is &quot;emphasis of action&quot;. In this context, subjectless sentences are used to describe behaviors, especially in the study of traditional Chinese medicine abstracts. Comparatively speaking, it should be avoided in English medical abstracts. Abstract sentences are more subjective when describing the learning process, while the essential requirement of English medical abstract is objectivity. From this point, sentences without subject should be avoided in English medical abstracts. Another feature is voice. Few words with passive meanings appear in Chinese abstracts. English sentences are more favoured in using passive voice. When translating from Chinese to English, passive voice should be used to make the contents objective, which is also the basic requirement of medical papers.<br /> These are the linguistic features of Chinese medical abstracts. There are great differences in sentence structure and expression between Chinese and English medical abstracts. These differences may reduce the accuracy of machine translation, so it is necessary to introduce pre-editing to edit the source text to ensure that the source text can be accurately recognized by the machine and fully translated into English.<br /> ===2.2 Error Division of Machine Translation in Translating Abstracts of Medical Papers from Chinese to English===<br /> In this paper, errors in machine translation are listed out after analyzing. Some are due to the principles, such as statistical-based MT and NMT, employed by machine translation. Based on the original errors, they can be studied from two levels. One is from the macro-level, referring to mistakes caused by objective factors. These are not human factors, but the disadvantage of machine translation and the limitations of language. The limitations of machine translation are derived from the principles and models adopted and manifests itself as a reliance on reference sources. In this case, semantic ambiguity and textual incoherence may occur in the absence of reference sources.<br /> However, for ESP texts such as medical papers, the requirements for terms and sentence patterns are far beyond the existing corpora. For unfamiliar texts (that is, the corresponding texts cannot be found in the corpora). The quality of output translation will be relatively low, which is determined by the principles of machine translation. As mentioned above, machine translation has evolved over the past few decades from rules-based to corp-based statistics to NMT. However, there still exist some limitations in machine translation.<br /> Mistakes on micro-level are mainly caused by the variations and differences of linguistic structure between Chinese and English. Chinese is an implicit language, while English is an explicit one (Lian, 2010) To put it in another way, Chinese expression does not depend on language structures, while English does the opposite. This may result in mismatches between the original and machine translated sentences. This kind of error is mainly divided into two types: component fragment and component missing. For a medical paper, such errors are very serious. As a kind of ESP discourse, medical paper has the characteristics of fixed, objective and accurate language structure. In order to reproduce the characteristics of medical abstracts in translation, it is necessary to avoid errors at the level of words and sentences and pay attention to logic and consistency.<br /> Lexical errors here refer to the inconsistency of fixed expressions in the translation of terms. Although these terms are machine translation based on the corpus, the corpus may not be perfect for ESP texts such as medical papers. Therefore, fixed expressions are not used in term translation. This is also the most common mistake in machine translation (the term here includes but is not limited to nouns). For ESP texts, medical text in particular, the fixed expressions and the accuracy of terms are of great importance.<br /> <br /> ===3.Approaches Proposed for Pre-editing ===<br /> Generally speaking, there is a close relationship between pre-editing and post-editing, both of which aim to convey information and ensure high or publishable translation quality. Proper pre-editing can improve the quality of machine translation in terms of adequacy and consistency. <br /> Complexity of natural language and people use language arbitrarily, bringing many difficulties to Chinese-English machine translation, Hu Qingping (2005:24) has proposed &quot;the research of translation software and the development of the controlled language are the two directions to improve the quality of machine translation : the former aims at the difficulty in the natural language processing, the latter overcomes the arbitrariness of natural language&quot;. Feng Quangong and Gao Lin (2017: 63-68) put forward: &quot;The writing principles of controlled language can be applied to pre-editing of machine translation. Pre-editing based on controlled language can effectively reduce the complexity and ambiguity of source text, improve the identifiability of machine translation (the translatability of source text itself), and thus reduce (fully) the workload of post-editing&quot;.<br /> The central task of pre-editing is to transform human-friendly content into machine-friendly content, so words and sentences need to be repositioned or even changed. Based on the analysis of the language characteristics of Chinese and English, the Chinese ideographic group should be split before the Chinese source text is input into the machine software to translate so that the sentence structure is complete which can be easily recognized by the machine translation software.<br /> ===3.1 Extraction and Replacement of Terms in the Source Text===<br /> As a branch of applied English, medical English is the product of the combination of English language knowledge and medical knowledge. The terms in medical papers have the characteristics of fixed and complex language structure. Although Google Translation is based on a corpus, the language structure is not fixed due to the limited size of the corpus. Therefore, the following two steps should be followed before machine translation. The first is to extract terms and create a glossary, and then replace the Chinese terms in the source text with the corresponding English expressions in the glossary. Of course, the terms of extraction should be searched and verified according to the actual situation. All of these words are verified before they can be replaced. This method can not only ensure the accuracy of term translation, but also maintain the consistency of expression, especially when dealing with long texts.<br /> Example1<br /> Source abstract: 口腔白斑病癌变相关缺氧应答基因和微小RNA的芯片及表达验证。<br /> Google translation: Microarray detection/Chip detection and expression verification of hypoxia response genes and microRNAs related to oral leukoplakia canceration.<br /> Published translation:Transcriptome array screening and verification of oral leukoplakia carcinogenesis-related hypoxia-responsive gene and microRNA. <br /> Analysis: The expression “ Affymetrix GeneChip” empolyed in this thesis is a human transcription array for transcriptome array. In the source abstract, “芯片检测“ can be meant “screening” but not detection, so the proper and appropriate translation of these expression should be “transcription array screening”, but the Google translates it into “microarry detection of chip detection”. Therefore, term extraction is essential and inevitable before putting the source abstracts into the machine translation software.<br /> After pre-editing source abstracts: 对 oral leukoplakia carcinogenesis 相关 hypoxia-responsive gene 和微小RNA进行 transcriptome array screening 及表达验证。<br /> After pre-editing translation: Transcriptome array screening and expression- verification of hypoxia-responsive genes and microRNAs related to oral leukoplakia carcinogenesis.<br /> ===3.2 Explication of Subordination===<br /> As mentioned above, the subordination of Chinese sentences is judged by certain specific words in machine translation . Chinese is a paratactic language, and sentences are often connected by internal logical relationships; while English depends on sentence structure, so sentences are often closely linked by various language forms. In order to improve the accuracy of machine translation, we can adjust the sentence structure and adjust the position of adjectives and their modifiers. <br /> Example 2<br /> Source abstracts:回顾性分析南京医科大学附属儿童医院中重度HIE患儿49例及同期就诊的无神经系统症状体征的足月新生儿为对照组31例的头颅磁共振成像（MRI）资料。<br /> Google translation: A retrospective analysis that the brain magnetic resonance imaging (MRI) data of 49 children with moderate to severe HIE in the Children's Hospital of Nanjing Medical University and full-term neonates with no neurological symptoms and signs during the same period were included in the control group.<br /> Published translation: A total of 49 children with moderate to severe HIE admitted to the children’s Hospital Affiliated to Nanjing Medical University were retrospectively analyzed. Cranial magnetic resonance imaging (MRI) date of 31 full-term neonates without neurological symptoms and signs who visited the hospital during the same period were recruited as the control group. <br /> Analysis: As the above example shows that “中重度HIE患儿” and “足月新生儿” in the source abstracts are from the Children’s Hospital Affiliated Nanjing Medical University. The Google translation shows that 49 children with moderate to severe HIE in the Children's Hospital of Nanjing Medical University. There is an error due to the misuse of subordination. There are some advice in order to solve the problem. That is, first to segment the sentence and then reconstruct the sentence. For instance, the Chinese expression “南京医科大学附属儿童医院” carries many modifiers, which requires to cut the modifiers and reconstruct the sentence. Therefore, the Chinese expression “南京医科大学附属儿童医院’can be divided into abstractions, leaving two sentences instead of one long sentence with modifiers..<br /> After pre-editing source abstracts: 对49例中重度HIE患儿以及31例无神经系统症状体征的足月新生儿的MRI资料进行回顾性分析。这些患者收治于南京医科大学儿童附属医院。<br /> After pre-editing translation: The MRI data of 49 children with moderate to severe HIE and 31 full-term newborns without neurological symptoms and signs were retrospectively analyzed. These patients were admitted to the Children’s Hospital of Nanjing Medical University.<br /> ===3.3 Explication of Subject through Voice Changing===<br /> The extensive use of subjectless sentences are quite common in the Chinese abstracts, while English prefers to employ passive voice in the sentences so as to make them object and accurate. In order to take the characteristics of English sentences into great and careful consideration, the sentences written in passive voice in particular, it will be helpful for machine translation to find out the subject and reconstruct a sentence in passive voice (Wang Yan: 2008). The first is to discover the “doee” in a sentence and then is to reconstruct the sentence structure and put the “doee” before the verb. The last is to explicate the passive relation between the noun and the verb.<br /> Example 3<br /> Source abstract: 回顾性分析2018年1月至2020年12月解放军总医院第七医学中心收治的500例老年髋部骨折患者的资料。<br /> Google translation: A retrospective analysis of the data of 500 elderly patients with hip fractures admitted to the Seventh Medical Center of the PLA General Hospital from January 2018 to December 2020.<br /> Published translation: From January 2018 to December 2020, the data of 500 elderly patients with hip fracture treated in the Seventh Medical Center of PLA General Hospital were analyzed retrospectively.<br /> Analysis: The above example indicates that the “回顾性分析”in the Google Translate is a noun phrase, but the source abstracts actually describes an action or a behavior. The reason for such a mistake is that the machine can’t recognize the Chinese subjetless sentences. To find the subject of the sentence, the source abstracts can be revised and adjusted. Finding the “doee” is the first step, which refers to “500例老年髋部骨折患者的资料”in the source abstracts. And next is to put it in front of the verb, that is to place it in the beginning of the sentence. Last but not least, the passive voice should be explicated in the sentence. <br /> After pre-editing source abstract: 500例老年髋部骨折患者的资料被回顾性分析，他们在2018年1月之2020年12月期间收治于解放军总医院第七医学中心。<br /> After pre-editing translation: The data of 500 elderly hip fracture patients were retrospectively analyzed. They were admitted to the Seventh Medical Center of the PLA General Hospital between January 2018 and December 2020.<br /> ===3.4 Relocation of Modifiers===<br /> Modifiers, including noun, adverbial and attributive are constantly employed in the Chinese medical papers in order to add information to subject and object in the sentence. By doing this, complicated sentences can be structured, thus causing obstacles to machine translation for recognizing this complex sentence structures when translating Chinese-English sentences. To make the machine translation successfully recognize the sentence structure, simplifying the sentence structure is quite necessary. The key is to moving the location of the modifiers and thus making the modifiers an independent sentence. In other words, the modifiers ought to be put before or behind the main part of the sentence to satisfy the common use of English. <br /> Usually, the modifiers in Chinese sentence can only be placed in front of the core word, while in English, modifiers are very flexible. It is all right to place the modifiers in front of or behind the major part of the sentences with adjective or a connective noun.<br /> Example 4<br /> Source abstracts: 利用DNA重组技术以pET-28a表达系统在E.coli BL21(DE3) 中重组表达Hepl。<br /> Google Translation: Hepl is recombined in E.coli BL21 (DE3) using DNA recombination technology with pET-28a expression system.<br /> Published translation: The recombinant Hcpl protein was expressed by using DNA recombination technology through pET-28a expression system in E. coli BL21 (De3).<br /> Analysis: The Chinese medical text includes two modifiers, “利用DNA”and “以pET-28a)表达系统”. These two modifiers will be translated by machine, which catches more attention to the two constituents. From the Google translation above, one failure is obvious that it misplaces the location of the two modifiers and presents it in not accurate form. To make it translate correctly by machine translation, dividing the sentences is very important so that the source abstracts can be correctly recognized by machine translation.<br /> After pre-editing source abstract: 利用DNA重组技术，Hcp1重组表达在E.coli BL21 (DE3)中， 通过pET-28a表达系统在E. coli BL21 (DE3)中。<br /> Google translation: Using DNA recombination technology, Hcp1 recombination is expressed in E.coli BL21 (DE3), via pET-28a expression system in E. coli BL21 (DE3).<br /> The second is the independence of modifiers, that is, modifiers can also be reconstructed into clauses to modify core words. Compared with English, There is no subordinate clause in Chinese, so redundant Chinese modifiers need to be reconstructed into subordinate clauses in Chinese-English translation to meet the characteristics of English. English, especially sentences with multiple modifiers. Otherwise, sentence structure may be confused, such as scattered modifiers of core words. To avoid this mistake, it is necessary to separate the modifier from the main part of the sentence. These modifiers should be reconstituted into clauses. Also, keep your sentences simple and easy to understand.<br /> ===3.5 Proper Omission and Deletion of Category Words===<br /> Category words are commonly used in Chinese. Category words complement the meaning of words, including problems, positions, situations and jobs. Adding this supplementary word is more in line with Chinese custom. In many cases, it has no real meaning, so it can be omitted in translation. In Chinese, category words are frequently used. However, it is rarely used in English, which is one of the differences between Chinese and English. There are many kinds of category words. Considering objectivity and the fixed structure of language, redundant category words should be deleted in Chinese-English translation. In the general, the most commonly used category of words in the Chinese medical abstracts are &quot;process&quot;, &quot;behavior&quot;, and &quot;situation&quot;. These categories of words hinder the language conversion of Chinese and English, resulting in redundancy. <br /> Example 5<br /> Source abstract: 探讨口腔白斑病癌变进程中的缺氧应答基因及相关微小RNA (miRNA) 的表达。<br /> Google translation: The expression of hypoxia response genes and associated microRNAs in the process of oral leukoplakia cancer was discussed.<br /> Published translation: To study the hypoxia response gene and microRNA (miRNA)expression profiles in the pathogenesis and progression of oral leukoplakia (OLK).<br /> Analysis: As the above example shows, the Chinese words “进程” belongs to a category word. However, the Chinese expression “癌变”contains the process, so the “进程” expression can be deleted before placing it into the machine translation, because the meaning of it has been overlapping between the expression “癌变”. Therefore, its place can be replaced with preposition “during”.<br /> After pre-editing source abstract: 探讨口腔白斑病癌变中的缺氧应答基因及相关微小RNA (miRNA) 的表达。<br /> Google translation: The expression of hypoxia responsive genes and miRNA in oral leukoplakia cancer was investigated.<br /> <br /> ===Conclusion===<br /> After years of development, machine translation has made great progress. The accuracy of machine translation has been greatly improved in both text recognition and sentence pattern conversion. However, machine translation has its own limitations. In other words, it needs to rely on the parallel corpus as a reference source for improving its accuracy. ESP text, in particular, is harder to get the high quality by machine translation. <br /> As one of the research papers, the characteristics of medical abstracts are fixed language structures, objectivity and accuracy (Qin Yi:2004). Therefore, medical translation must be accurate, object and understandable to follow the specific demands of the medical paper. Being an important field in the human society, medical paper translation is on a great demand, which means that it needs a huge demand for human labor. However, with the machine translation promoting, it will be more efficient to translate medical papers combining the effort by human and machine. The improvement and development of machine translation requires the joint efforts of computer science, information science, statistics, linguistics and other academic circles to achieve more mature human-computer mutual assistance translation (Li Yafei, Zhang Ruihua : 2019).<br /> However, errors can occur during the process of machine translation of Chinese- English, because of the differences of the Chinese and English and the processing of the machine. Errors from the perspective of linguistic or grammar can affect the machine translation a lot. After division and recognition of errors, some pre-editing approaches are put forward to help the machine translation more accurate and readable, that are, extraction and replacement of terms in the source text, relocation of modifiers, explication of subordination, proper omission, deletion of category words and explication of subject through voice changing. <br /> The paper mainly focuses on the pre-editing machine translation by using medical papers as a case study. The errors of machine translation occurring in the translation of medical abstracts and pre-editing approaches for machine translation. The quality of machine translation of medical papers is greatly improved after employing the pre-editing methods. However, machine translation is not as flexible and accurate as human brain, so it is of importance to combine pre-editing and post-editing approaches with machine translation in order to produce more accurate, more object machine translation of medical papers.<br /> <br /> ===References===<br /> [1]. Cronin, Michael (2013). Translation in the Digital Age[M]. New York&amp;London: Routledge.<br /> <br /> [2]. GERLACH J, et al ( 2013). Combining Pre-editing and Post-editing to Improve SMT of User-generated Content[M]// Proceedings of MT Summit XIV Workshop on Post-editing Technology and Practice. 45-53.<br /> <br /> [3]. Slype G V &amp; Guinet J F &amp; Seitz F (1984). Better Translation for Better Communication [M] .Oxford: Pergamon Press Ltd (U.K.), <br /> <br /> [4]. O'Brien S (2002). Teaching Post-editing: A Proposal for Course Con-tent [EB/OL]. http://mt-archive. Info/EAMT-2002-0brien. Pdf.<br /> <br /> [5]. Tytler, A. F. (1978). Essay On The Principles of Translation[M]. Amsterdam: JohnBenjamins Publishing.<br /> <br /> [6] 崔启亮. (2014), 论机器翻译的译后编辑[J], 中国翻译, 035(006):68-73.<br /> <br /> [7] 冯全功,高琳 (2017) 基于受控语言的译前编辑对机器翻译的影响[J]. 当代外语研究,(2): 63-68+87+110.<br /> <br /> [8] 胡清平(2005). 机器翻译中的受控语言[J]. 中国科技翻译, (03): 24-27. <br /> <br /> [9] 连淑能 (2010). 英汉对比研究增订本[M]. 北京:高等教育出版社.<br /> <br /> [10] 黎亚飞,张瑞华 (2019). 机器翻译发展与现状[J]. 中国轻工教育,(5):38-45. <br /> <br /> [11] 秦毅(2004),从翻译基本标准议医学英语的翻译[J]. 遵义医学院学报,27 (4): 421-423. <br /> <br /> [12] 王燕 (2008). 医学英语翻译与写作教程[M]. 重庆:重庆大学出版社<br /> <br /> =12 蔡珠凤=(The Mistranslation of C-J Machine Translation of Political Statements)=<br /> [[Machine_Trans_EN_12]]<br /> ===Abstract===<br /> Language is the main way of communication between people. With the continuous development of globalization, the scale of cross-border exchanges is also expanding. However, due to cultural differences and diversity, the languages of different countries and regions are very different, which seriously hinders people's communication. The demand for efficient and convenient translation tools is increasing. At the same time, with the development of network technology and artificial intelligence, recognition technology based on deep learning is more and more widely used in English, Japanese and other fields.<br /> <br /> ===Key words===<br /> machine translation; political statements; mistranslation of C-J machine translation<br /> ===题目===<br /> The Mistranslation of C-J Machine Translation of Political Statements<br /> ===摘要===<br /> 语言是人与人之间交流的主要方式。随着全球化的不断发展，跨境交流的规模也在不断扩大。然而，由于文化的差异和多样性，不同国家和地区的语言差异很大，这严重阻碍了人们的交流。对高效便捷的翻译工具的需求正在增加。同时，随着网络技术和人工智能的发展，基于深度学习的识别技术在英语、日语等领域的应用越来越广泛。<br /> <br /> ===关键词===<br /> 机器翻译；政治发言；政治发言中译日的误译<br /> ===1. Introduction===<br /> ===Introduction to machine translation===<br /> Machine translation, also known as automatic translation, is a process of using computers to convert one natural language (source language) into another natural language (target language). It is a branch of computational linguistics, one of the ultimate goals of artificial intelligence, and has important scientific research value.At the same time, machine translation has important practical value. With the rapid development of economic globalization and the Internet, machine translation technology plays a more and more important role in promoting political, economic and cultural exchanges.The development of machine translation technology has been closely accompanied by the development of computer technology, information theory, linguistics and other disciplines. From the early dictionary matching, to the rule translation of dictionaries combined with linguistic expert knowledge, and then to the statistical machine translation based on corpus, with the improvement of computer computing power and the explosive growth of multilingual information, machine translation technology gradually stepped out of the ivory tower and began to provide real-time and convenient translation services for general users.<br /> <br /> === C-J machine translation software===<br /> Today's online machine translation software includes Baidu translation, Tencent translation, Google translation, Youdao translation, Bing translation and so on. Google was the first company to launch the machine translation system, and Baidu was the first company to import the machine translation system in China. In addition, Tencent and Youdao have attracted much attention.Machine translation is the process of using computers to convert one natural language into another. It usually refers to sentence and full-text translation between natural languages. In order to continuously improve the translation quality, R &amp; D personnel have added artificial intelligence technologies such as speech recognition, image processing and deep neural network to machine translation on the basis of traditional machine translation based on rules, statistics and examples.With the increase of using machine translation, the joint cooperation between manual translation and machine translation will also increase significantly in the future. What criteria should be used to evaluate the quality of machine translation? In the evolving field of machine translation, there is an urgent need to clarify the unsolvable questions and solved problems.<br /> <br /> ===The history of machine translation===<br /> The research history of machine translation can be traced back to the 1930s and 1940s. In the early 1930s, the French scientist G.B. alchuni put forward the idea of using machines for translation. In 1933, Soviet inventor П.П. Trojansky designed a machine to translate one language into another, and registered his invention on September 5 of the same year; However, due to the low technical level in the 1930s, his translation machine was not made. In 1946, the first modern electronic computer ENIAC was born. Shortly after that, W. weaver, an American scientist and A. D. booth, a British engineer, a pioneer of information theory, put forward the idea of automatic language translation by computer in 1947 when discussing the application scope of electronic computer. In 1949, W. Weaver published the translation memorandum, which formally put forward the idea of machine translation. After 60 years of ups and downs, machine translation has experienced a tortuous and long development path. The academic community generally divides it into the following four stages:<br /> <br /> Pioneering period（1947-1964）<br /> <br /> In 1954, with the cooperation of IBM, Georgetown University completed the English Russian machine translation experiment with ibm-701 computer for the first time, showing the feasibility of machine translation to the public and the scientific community, thus opening the prelude to the study of machine translation.<br /> It is not too late for China to start this research. As early as 1956, the state included this research in the national scientific work development plan. The topic name is &quot;machine translation, the construction of natural language translation rules and the mathematical theory of natural language&quot;. In 1957, the Institute of language and the Institute of computing technology of the Chinese Academy of Sciences cooperated in the Russian Chinese machine translation experiment, translating 9 different types of more complex sentences.From the 1950s to the first half of the 1960s, machine translation research has been on the rise. The United States and the former Soviet Union, two superpowers, have provided a lot of financial support for machine translation projects for military, political and economic purposes, while European countries have also paid considerable attention to machine translation research due to geopolitical and economic needs, and machine translation has become an upsurge for a time. In this period, although machine translation is just in the pioneering stage, it has entered an optimistic period of prosperity.<br /> <br /> Frustrated period（1964-1975）<br /> <br /> In 1964, in order to evaluate the research progress of machine translation, the American Academy of Sciences established the automatic language processing Advisory Committee (Alpac Committee) and began a two-year comprehensive investigation, analysis and test.In November 1966, the committee published a report entitled &quot;language and machine&quot; (Alpac report for short), which comprehensively denied the feasibility of machine translation and suggested stopping the financial support for machine translation projects. The publication of this report has dealt a blow to the booming machine translation, and the research of machine translation has fallen into a standstill. Coincidentally, during this period, China broke out the &quot;ten-year Cultural Revolution&quot;, and basically these studies also stagnated. Machine translation has entered a depression.<br /> <br /> convalescence（1975-1989）<br /> <br /> Since the 1970s, with the development of science and technology and the increasingly frequent exchange of scientific and technological information among countries, the language barriers between countries have become more serious. The traditional manual operation mode has been far from meeting the needs, and there is an urgent need for computers to engage in translation. At the same time, the development of computer science and linguistics, especially the substantial improvement of computer hardware technology and the application of artificial intelligence in natural language processing, have promoted the recovery of machine translation research from the technical level. Machine translation projects have begun to develop again, and various practical and experimental systems have been launched successively, such as weinder system Eurpotra multilingual translation system, taum-meteo system, etc.However, after the end of the &quot;ten-year holocaust&quot;, China has perked up again, and machine translation research has been put on the agenda again. The &quot;784&quot; project has paid enough attention to machine translation research. After the mid-1980s, the development of machine translation research in China has further accelerated. Firstly, two English Chinese machine translation systems, ky-1 and MT / ec863, have been successfully developed, indicating that China has made great progress in machine translation technology.<br /> <br /> New period(1990 present)<br /> <br /> With the universal application of the Internet, the acceleration of the process of world economic integration and the increasingly frequent exchanges in the international community, the traditional way of manual operation is far from meeting the rapidly growing needs of translation. People's demand for machine translation has increased unprecedentedly, and machine translation has ushered in a new development opportunity. International conferences on machine translation research have been held frequently, and China has made unprecedented achievements. A series of machine translation software have been launched, such as &quot;Yixing&quot;, &quot;Yaxin&quot;, &quot;Tongyi&quot;, &quot;Huajian&quot;, etc. Driven by the market demand, the commercial machine translation system has entered the practical stage, entered the market and came to the users.Since the new century, with the emergence and popularization of the Internet, the amount of data has increased sharply, and statistical methods have been fully applied. Internet companies have set up machine translation research groups and developed machine translation systems based on Internet big data, so as to make machine translation really practical, such as &quot;Baidu translation&quot;, &quot;Google translation&quot;, etc. In recent years, with the progress of in-depth learning, machine translation technology has further developed, which has promoted the rapid improvement of translation quality, and the translation in oral and other fields is more authentic and fluent.<br /> <br /> ===The problem of machine translation at present===<br /> Error is inevitable<br /> Many people have misunderstandings about machine translation. They think that machine translation has great deviation and can't help people solve any problems. In fact, the error is inevitable. The reason is that machine translation uses linguistic principles. The machine automatically recognizes grammar, calls the stored thesaurus and automatically performs corresponding translation. However, errors are inevitable due to changes or irregularities in grammar, morphology and syntax, such as sentences with adverbials after &quot;give me a reason to kill you first&quot; in Dahua journey to the West. After all, a machine is a machine. No one has special feelings for language. How can it feel the lasting charm of &quot;the tenderness of lowering its head, like the shame of a water lotus? After all, the meaning of Chinese is very different due to the changes of morphology, grammar and syntax and the change of context. Even many Chinese people are zhanger monks - they can't touch their heads, let alone machines.<br /> Bottleneck<br /> In fact, no matter which method, the biggest factor affecting the development of machine translation lies in the quality of translation. Judging from the achievements, the quality of machine translation is still far from the ultimate goal.<br /> Chinese mathematician and linguist Zhou Haizhong once pointed out in his paper &quot;fifty years of machine translation&quot;: to improve the quality of machine translation, the first thing to solve is the problem of language itself rather than programming; It is certainly impossible to improve the quality of machine translation by relying on several programs alone. At the same time, he also pointed out that it is impossible for machine translation to achieve the degree of &quot;faithfulness, expressiveness and elegance&quot; when human beings have not yet understood how the brain performs fuzzy recognition and logical judgment of language. This view may reveal the bottleneck restricting the quality of translation. <br /> It is worth mentioning that American inventor and futurist ray cozwell predicted in an interview with Huffington Post that the quality of machine translation will reach the level of human translation by 2029. There are still many disputes about this thesis in the academic circles.<br /> <br /> ===2.Mistranslation of Chinese Japanese machine translation===<br /> ===2.1Vocabulary mistranslation in Chinese Japanese machine translation===<br /> ===2.1.1Mistranslation of proper nouns===<br /> In political materials, there are often political dignitaries' names, place names or a large number of proper nouns in the political field. The morphemes of such words are definite and inseparable. Mistranslation will make the source language lose its specific meaning. <br /> <br /> Japanese translation into Chinese Chinese translation into Japanese<br /> <br /> original text translation by Youdao reference translation original text translation by Youdao reference translation<br /> <br /> 朱鎔基 朱基 朱镕基 栗战书 栗戰史書 栗戰書<br /> <br /> 労安 劳安 劳安 李克强 李克強 李克強 <br /> <br /> 筑紫哲也 筑紫哲也 筑紫哲也 习近平 習近平 習近平<br /> <br /> 山口百惠 山口百惠 山口百惠 韩正 韓中 韓正<br /> <br /> 田中角栄 田中角荣 田中角荣 王沪宁 王上海氏 王滬寧<br /> <br /> 東条英機 东条英社 东条英机 汪洋 汪洋 汪洋<br /> <br /> 毛沢东 毛泽东 毛泽东 赵乐际 趙樂南 趙樂際<br /> <br /> トウ・ショウヘイ　　　大酱 邓小平 江泽民 江沢民 江沢民<br /> <br /> 周恩来 周恩来 周恩来<br /> <br /> クリントン 克林顿 克林顿<br /> <br /> The above table counts 18 special names in the two texts, and 7 machine translation errors. In terms of mistranslation, there are not only &quot;战书&quot; but also &quot;戰史&quot; and &quot;史書&quot; in Chinese. &quot;沪&quot; is the abbreviation of Shanghai. In other words, since &quot;战书&quot; and &quot;沪&quot; are originally common nouns, this disrupts the choice of target language in machine translation. Except Katakana interference (except for トウシゃウヘイ, most of the mistranslations appear in the new Standing Committee. It can be seen that the machine translation system does not update the thesaurus in time. Different from other words, people's names have particularity. Especially as members of the Standing Committee of the Political Bureau of the CPC Central Committee, the translation of their names is officially unified. In this regard, public figures such as political dignitaries, stars, famous hosts and important. In addition, the machine also translates Japanese surnames such as &quot;タ二モト&quot; (谷本), &quot;アンドウ&quot; (安藤) into &quot;塔尼莫特&quot; and &quot;龙胆&quot;. It can be found that the language feature that Japanese will be written together with Chinese characters and Hiragana also directly affects the translation quality of Japanese Chinese machine translation. Japanese people often use Katakana pronunciation. For example, when Japanese people talk with Premier Zhu, they often use &quot;二ーハウ&quot; (Hello). However, the machine only recognizes the two pseudonyms &quot;二&quot; and &quot;ハ&quot; and transliterates them into &quot;尼哈&quot; , ignoring the long sound after &quot;二&quot; and &quot;ハ&quot;.<br /> <br /> original text Translation by Youdao reference translation<br /> <br /> 日美安全体制 日米の安全体制 日米安保体制<br /> <br /> 中国共产党第十九次全国代表大会 中国共産党第19回全国代表大会 中国共産党第19回全国代表大会（第19回党大会）<br /> <br /> 十八大 十八大 第18回党大会中国特色社会主义<br /> <br /> 中国特色社会主義 中国の特色ある社会主義 第18回党大会<br /> <br /> 中国共产党中央委员会 中国共産党中央委員会 中国共産党中央委員会<br /> <br /> 中国共産党中央委員会十八届中共中央政治局常委 第18代中国共產党中央政治局常務委員 第18期中共中央政治局常務委員<br /> <br /> 十八届中共中央政治局委员 18期の中国共產党中央政治局委員 第18期中共中央政治局委員<br /> <br /> 十九届中共中央政治局常委 十九回中国共產党中央政治局常務委員 第19期中央政治局常務委員<br /> <br /> 中共十九届一中全会 中国共產党第十九回一中央委員会 第19期中央委員会第1回全体会議<br /> <br /> The above table is a comparison of the original and translated versions of some proper nouns. As shown in the table, the mistranslation problems are mainly reflected in the mismatch of numerals + quantifiers, the wrong addition of case auxiliary word &quot;の&quot;, the lack of connectors, the Mistranslation of abbreviations, dead translation, and the writing errors of Chinese characters. The following is a specific analysis one by one.<br /> <br /> &quot;十八届中共中央政治局常委&quot;, &quot;十八届中共中央政治局委员&quot;, &quot;十九届中共中央政治局常委&quot; and &quot;中共十九届一中全会&quot; all have quantifiers &quot;届&quot;, which are translated into &quot;代&quot;, &quot;期&quot; and &quot;回&quot; respectively. The meaning is vague and should be uniformly translated into &quot;期&quot;; Among them, the translation of the last three proper nouns lacks the Chinese conjunction &quot;第&quot;. The case auxiliary word &quot;の&quot; was added by mistake in the translation of &quot;十八届中共中央政治局委员&quot; and &quot;日美安全体制&quot;. The &quot;中国共产党中央委员会&quot; did not write in the form of Japanese Ming Dynasty characters, but directly used simplified Chinese characters.<br /> <br /> The full name of &quot;中共十九届一中全会&quot; is &quot;中国共产党第十九届中央委员会第一次全体会议&quot;, in which &quot;一&quot; stands for &quot;第一次&quot;, which is an ordinal word rather than a cardinal word. Machine translation does not produce a correct translation. The fundamental reason is that there are no &quot;规则&quot; for translating such words in machine translation. If we can formulate corresponding rules for such words (for example, 中共m'1届m2 中全会→第m1期中央委员会第m2回全体会议), the translation system must be able to translate well no matter how many plenary sessions of the CPC Central Committee.<br /> <br /> ===2.1.2Mistranslation of Polysemy===<br /> original text Translation by Youdao reference translation<br /> <br /> スタジオ 摄影棚/工作室 直播现场/演播厅<br /> <br /> 日中関係の話 中日关系的故事 就中日关系(话题)<br /> <br /> 溝 水沟 鸿沟<br /> <br /> それでは日中の問題について質問のある方。 那么对白天的问题有提问的人。 关于中日问题的话题，举手提问。<br /> <br /> 私たちのクラスは20人ちょっとですが、 我们班有20人左右， 我们班二十多人的意见统一很难，<br /> <br /> いろいろな意見が出て、まとめるのは大変です。 但是又各种各样的意见，总结起来很困难。 <br /> <br /> 一体どうやって、13億人もの人をまとめているんですか。 到底是怎么处理13亿的人的呢？ 中国是怎样把13亿人凝聚在一起的？<br /> <br /> In the original text, the word &quot;スタジオ&quot; appeared four times and was translated into &quot;摄影棚&quot; or &quot;工作室&quot; respectively, but the context is on-site interview, not the production site of photography or film. &quot;話&quot; has many semantics, such as &quot;说话&quot;, &quot;事情&quot;, &quot;道理&quot;, etc. In accordance with the practice of the interview program, Premier Zhu Rongji was invited to answer five questions on the topic of China Japan relations. Obviously, the meaning of the word &quot;故事&quot; is very abrupt. The inherent Japanese word &quot;日中&quot; means &quot;晌午、白天&quot;. At the same time, it is also the abbreviation of the names of the two countries. The machine failed to deal with it correctly according to the context. &quot;溝&quot; refers to the gap between China and Japan, not a &quot;水沟&quot;. The former &quot;まとめる&quot; appears in the original text with the word &quot;意见&quot;, which is intended to describe that it is difficult to unify everyone's opinions. The latter &quot;まとめている&quot; also refers to unifying the thoughts of 1.3 billion people, not &quot;处理&quot;. Therefore, it is more appropriate to use &quot;统一&quot; and &quot;处理&quot; in human translation, rather than &quot;总结意见&quot; or &quot;处理意见&quot;.<br /> <br /> Mistranslation of polysemy has always been a difficult problem in machine translation research. The translation of each word is correct, but it is often very different from the original expression in the context. Zhang Zhengzeng said that ambiguity is a common phenomenon in natural language. Its essence is that the same language form may have different meanings, which is also one of the differences between natural language and artificial language. Therefore, one of the difficulties faced by machine translation is language disambiguation (Zhang Zheng, 2005:60). In this regard, we can mark all the meanings of polysemous words and judge which meaning to choose by common collocation with other words. At the same time, strengthen the text recognition ability of the machine to avoid the translation inconsistent with the current context. In this way, we can avoid the mistake of &quot;大酱&quot; in the place where famous figures such as Deng Xiaoping should have appeared in the previous political articles.<br /> <br /> ===2.1.3Mistranslation of compound words===<br /> Multi class words refer to a word with two or more parts of speech, also known as the same word and different classes.<br /> <br /> original text Translation by Youdao reference translation<br /> <br /> 1998年江泽民主席曾经访问日本, 1998年の江沢民国家主席の日本訪問し、 1998年、江沢民総書記が日本を訪問し、かつ<br /> <br /> 同已故小渊首相签署了联合宣言。 かつて同じ故小渕首相が署名した共同宣言 亡くなられた小渕総理と宣言に調印されました<br /> <br /> Chinese &quot;同&quot; has two parts of speech: prepositions and conjunctions: &quot;故&quot; has many parts of speech, such as nouns, verbs, adjectives and conjunctions. This directly affects the judgment of the machine at the source language level. The word &quot;同&quot; in the above table is used as a conjunction to indicate the other party of a common act. &quot;故&quot; is used as a verb with the semantic meaning of &quot;死亡&quot;, which is a modifier of &quot;小渊首相&quot;. The machine regards &quot;同&quot; as an adjective and &quot;故&quot; as a noun &quot;原因&quot;, which leads to confusion in the structure and unclear semantics of the translation. Different from the polysemy problem, multi category words have at least two parts of speech, and there is often not only one meaning under each part of speech. In this regard, software R &amp; D personnel should fully consider the existence of multi category words, so that the translation machine can distinguish the meaning of words on the basis of marking the part of speech, so as to select the translation through the context and the components of the word in the sentence. Of course, the realization of this function is difficult, and we need to give full play to the wisdom of R &amp; D personnel.<br /> <br /> ===2.2 Syntactic mistranslation in Chinese Japanese machine translation===<br /> ===2.2.1Mistranslation of tenses===<br /> original text：History is written by the people, and all achievements are attributed to the people. <br /> <br /> Translation by Youdao：歴史は人民が書いたものであり、すべての成果は人民のためである。<br /> <br /> reference translation：歴史は人民が綴っていくものであり、すべての成果は人民に帰することとなります。<br /> <br /> The original sentence meaning is &quot;历史是人民书写的历史&quot; or &quot;历史是人民书写的东西&quot;. When translated into Japanese, due to the influence of Japanese language habits, the formal noun &quot;もの&quot; should be supplemented accordingly. In this sentence, both the machine and the interpreter have translated correctly. However, the machine's recognition of &quot;的&quot; is biased, resulting in tense translation errors. The past, present and future will become &quot;history&quot;, and this is a continuous action. The form translated as &quot;~ ていく&quot; not only reflects that the action is a continuous action, but also conforms to the tense and semantic information of the original text. In addition, the machine's treatment of the preposition &quot;于&quot; is also inappropriate. In the original text, &quot;人民&quot; is the recipient of action, not the target language. As the most obvious feature of isolated language, function words in Chinese play an important role in semantic expression, and their translation should be regarded as a focus of machine translation research.<br /> <br /> original text：李克强同志是十六届中共中央政治局常委,其他五位同志都是十六届中共中央政治局委员。<br /> <br /> Translation by Youdao：李克強総理は第16代中国共産党中央政治局常務委員であり、他の５人の同志はいずれも16期の中国共産党中央政治局委員である。<br /> <br /> reference translation：李克強同志は第16期中国共産党中央政治局常務委員を務め、他の５人は第16期中共中央政治局委員を務めました。<br /> <br /> Judging the verb &quot;是&quot; in the original text plays its most basic positive role, but due to the complexity of Chinese language, &quot;是&quot; often can not be completely transformed into the form of &quot;だ / である&quot; in the process of translation. This sentence is a judgment of what has happened. Compared with the 19th session, the 18th session has become history. This is an implicit temporal information. It is very difficult for machines without human brain to recognize this implicit information. &quot;中共中央政治局常委&quot; is the abbreviation of &quot;中共中央政治局常务委员会委员&quot; and it is a kind of position. In Japanese, often use it with verbs such as &quot;務める&quot;,&quot;担当する&quot;,etc. The translator adopts the past tense of &quot;務める&quot;, which conforms to the expression habit of Japanese and deals with the problem of tense at the same time. However, machine translation only mechanically translates this sentence into judgment sentence, and fails to correctly deal with the past information implied by the word &quot;十八届&quot;.<br /> <br /> ===2.2.2Mistranslation of honorifics===<br /> Honorific language is a language means to show respect to the listener. Different from Japanese, there is no grammatical category of honorifics in Chinese. There is no specific fixed grammatical form to express honorifics, self modesty and politeness. Instead, specific words such as &quot;您&quot;, &quot;请&quot; and &quot;劳驾&quot; are used to express all kinds of respect or self modesty. <br /> <br /> Original text translation by Youdao reference translation<br /> <br /> 女士们，先生们，同志们，朋友们 さんたち、先生たち、同志たち、お友达さん　　 ご列席の皆さん<br /> <br /> 谢谢大家！ ありがとうございます！ ご清聴ありがとうございました。<br /> <br /> これはどうされますか。 这是怎么回事呢? 您将如何解决这一问题？<br /> <br /> こうした問題をどうお考えでしょうか。 我们会如何考虑这些问题呢？ 您如何看待这一问题？<br /> <br /> For example, for the processing of &quot;女士们，先生们，同志们，朋友们&quot;, the machine makes the translation correspond to the original one by one based on the principle of unchanged format, but there are errors in semantic communication and pragmatic habits. When speaking on formal occasions, Chinese expression tends to be comprehensive and detailed, as well as the address of the audience. In contrast, Japanese usually uses general terms such as &quot;皆様&quot;, &quot;ご臨席の皆さん&quot; or &quot;代表団の方々&quot; as the opening remarks. In terms of Japanese Chinese translation, the machine also failed to recognize the usage of Japanese honorifics such as &quot;さ れ る&quot; and &quot;お考え&quot;. It can be seen that Chinese Japanese machine translation has a low ability to deal with honorific expressions. The occasion is more formal. A good translation should not only be fluent in meaning, but also conform to the expression habits of the target language and match the current translation environment.<br /> <br /> ===Conclusion===<br /> In the process of discussing the Mistranslation of machine translation, this paper mainly cites the Mistranslation of Youdao translator. When I studied the problem of machine translation mistranslation, I also used a large number of translation software such as Google and Baidu for parallel comparison, and found that these translation software also had similar problems with Youdao translator. For example, the &quot;新世界新未来&quot; in Chinese ABAC structural phrases is translated by Baidu as &quot;新し世界の新しい未来&quot;, which, like Youdao, is not translated in the form of parallel phrases; Google online translation translates the word &quot;“全心全意&quot; into a completely wrong &quot;全面的に&quot;; The original sentence &quot;我吃了很多亏&quot; in the Mistranslation of the unique expression in the language is translated by Google online as &quot;私はたくさんの損失を食べました&quot;. Because the &quot;吃&quot; and &quot;亏&quot; in the original text are not closely adjacent, the machine can not recognize this echo and mistakenly treats &quot;亏&quot; as a kind of food, so the machine translates the predicate as &quot;食べました&quot;; Japanese &quot;こうした問題をどう考えでしょうか&quot;, Google's online translation is &quot;你如何看待这些问题?&quot;, &quot;你&quot; tone can not reflect the tone of Japanese honorific, while Baidu translates as &quot;你怎么想这样的问题呢?&quot; Although the meaning can be understood, it is an irregular spoken language. Google and Baidu also made the same mistakes as Youdao in the translation of proper nouns. For example, they translated &quot;十七届(中共中央政治局常委)”&quot; into &quot;第17回...&quot; .In short, similar mistranslations of Youdao are also common in Baidu and Google. Due to space constraints, they will not be listed one by one here.<br /> <br /> Mr. Liu Yongquan, Institute of language, Chinese Academy of Social Sciences (1997) It has been pointed out that machine translation is a linguistic problem in the final analysis. Although corpus based machine translation does not require a lot of linguistic knowledge, language expression is ever-changing. Machine translation based solely on statistical ideas can not avoid the translation quality problems caused by the lack of language rules. The following is based on the analysis of lexical, syntactic and other mistranslations From the perspective of the characteristics of the source language, this paper summarizes some difficulties of Chinese and Japanese in machine translation.<br /> <br /> (1) The difficulties of Chinese in machine translation <br /> <br /> Chinese is a typical isolated language. The relationship between words needs to be reflected by word order and function words. We should pay attention to the transformation of function words such as &quot;的&quot;, &quot;在&quot;, &quot;向&quot; and &quot;了&quot;. Some special verbs, such as &quot;是&quot;, &quot;做&quot; and &quot;作&quot;, are widely used. How to translate on the basis of conforming to Japanese pragmatic habits and expressions is a difficulty in machine translation research. In terms of word order, Chinese is basically &quot;subject→predicate→object&quot;. At the same time, Chinese pays attention to parataxis, and there is no need to be clear in expression with meaningful cohesion, which increases the difficulty of Chinese Japanese machine translation. When there are multiple verbs or modifier components in complex long sentences, machine translation usually can not accurately divide the components of the sentence, resulting in the result that the translation is completely unreadable. <br /> <br /> (2) Difficulties of Japanese in machine translation <br /> <br /> Both Chinese and Japanese languages use Chinese characters, and most machines produce the target language through the corresponding translation of Chinese characters. However, pseudonyms in Japanese play an important role in judging the part of speech and meaning, and can not only recognize Chinese characters and judge the structure and semantics of sentences. Japanese vocabulary is composed of Chinese vocabulary, inherent vocabulary and foreign vocabulary. Among them, the first two have a great impact on Chinese Japanese machine translation. For example &quot;提出&quot; is translated as &quot;提出する&quot; or &quot;打ち出す&quot;; and &quot;重视&quot; is translated as &quot;重視する&quot; or &quot;大切にする&quot;. Japanese is an adhesive language, which contains a lot of &quot;けど&quot;, &quot;が&quot; and &quot;けれども&quot; Some of them are transitional and progressive structures, but there are also some sequential expressions that do not need translation, and these translation software often can not accurately grasp them.<br /> <br /> ===References===<br /> [1] Navroz Kaur Kahlon;Williamjeet Singh.Machine translation from text to sign language: a systematic review[J].Universal Access in the Information Society,2021(prepublish):1-35.<br /> <br /> [2] Cao Qianyu;Hao Hanmei;Ahmed Syed Hassan.A Chaotic Neural Network Model for English Machine Translation Based on Big Data Analysis[J].Computational Intelligence and Neuroscience,2021,2021:3274326-3274326.<br /> <br /> [3]Hwang Yongkeun;Kim Yanghoon;Jung Kyomin.Context-Aware Neural Machine Translation for Korean Honorific Expressions[J].Electronics,2021,10(13):1589-1589.<br /> <br /> [4]Zakaryia Almahasees.Analysing English-Arabic Machine Translation:Google Translate, Microsoft Translator and Sakhr,2021.<br /> <br /> [5]Machine learning in translation[J].Nature Biomedical Engineering,2021,5(6):485-486.<br /> <br /> [6]Shaimaa Marzouk.An in-depth analysis of the individual impact of controlled language rules on machine translation output: a mixed-methods approach[J].Machine Translation,2021(prepublish):1-37.<br /> <br /> [7]Welnitzová Katarína;Munková Daša.Sentence-structure errors of machine translation into Slovak[J].Topics in Linguistics,2021,22(1):78-92.<br /> <br /> [8]Xu Xueyuan.Machine learning-based prediction of urban soil environment and corpus translation teaching[J].Arabian Journal of Geosciences,2021,14(11). <br /> <br /> [9]陈丙昌.機械翻訳の誤訳分析【D】.贵州大学.2016(05) <br /> <br /> [10]呂寅秋.機械翻訳の言語規則と伝統文法との相違点.日本学研究.1996(00):21-22 <br /> <br /> [11]刘君.基于语料库的中日同形词词义用法对比及其日中机器翻译研究【D】.广西大学.2014(03) <br /> <br /> [12]崔倩倩.机器翻译错误与译后编辑策略研究【D】.北京外国语大学.2019(09) <br /> <br /> [13]张义.机器翻译的译文分析【D】.西安外国语大学.2019(10) <br /> <br /> [14]张琳婧.在线机器翻译中日翻译错误原因及对策【D】.山西大学.2019(02)<br /> <br /> [15]王丹.基于机器翻译的专利文本译后编辑对策研究【D】.大连理工大学.2020(06)<br /> <br /> [16]杨晓琨.日中机器翻译中的前编辑规则与效果验证【D】.大连理工大学.2020(06)<br /> <br /> [17]左嘉. 机器翻译日译汉误译研究[D]. 北京第二外国语学院, 2021.<br /> <br /> [18]关碧莹.关于政治类发言的汉日机器翻译误译分析[D].哈尔滨理工大学, 2018.<br /> <br /> [19]车彤.汉译日机器翻译质量评估及译后编辑策略研究【D】.北京外国语大学.2021(09)<br /> <br /> Networking Linking<br /> <br /> http://www.elecfans.com/rengongzhineng/692245.html<br /> <br /> https://baike.baidu.com/item/%E6%9C%BA%E5%99%A8%E7%BF%BB%E8%AF%91/411793<br /> <br /> =13 陈湘琼Chen Xiangqiong（Study on Post-editing from the Perspective of Functional Equivalence Theory ）=<br /> [[Machine_Trans_EN_13]]<br /> <br /> =14 Bi bi Nadia（Machine Translation a Challenge for Human Translators)=<br /> [[Machine_Trans_EN_14]]<br /> <br /> ===Abstract===<br /> Machine translation is a big obstacle in the way of Human translators or interpretors although it is quick and less time consuming.people are trying to get translation of their target language using through source language.For this purpose they are using digital apps like Google translation Google translation does not give accurate and exact interpretation.Google translator is translates word to word translate that doesn't clarifies it's true and actual meaning.On the other hand human translators can give exact and accurate translation ,they take care of grammatical errors , diction and sentence structure.They clarify the purpose of target language through using source language.<br /> <br /> ===Keywords===<br /> Descriptive translation, academic, interdiscipline, comparative literature, localization,Translatology,school of thought,translation , studies, linguistics, corresponding.<br /> <br /> ===Body of article===<br /> Translation is the process of reworking text from one language into another to maintain the original message and communication. But, like everything else, there are different methods of translation, and they vary in form and function. What is translation? The term has become widely used among knowledge transfer researchers and practitioners, especially in the fields of health and health care. In a landmark review, Jonathan Lomas began to argue that 'The tasks… may be defined as to establish and maintain links between researchers and their audience, via the appropriate translation of research findings' (Lomas 1997, p 4). In 2004, the World Health Organization's World Report on Knowledge for Better Health suggested that 'One of the key contributions of research to health systems is the translation of knowledge into actions' (WHO 2004, p 33 and p 100). By 2006, special issues of WHO's Bulletin as well as the journals Evaluation and the Health Professions and the Journal of Continuing Education in the Health Professions were dedicated to translation.But what does 'translation' mean? It may be a new word for an old problem, meaning nothing more than 'transfer'. The rapidly emerging field of 'translational medicine' seems to take translation to mean generally what transfer might have meant, that is the transmission of knowledge and evidence 'from bench to bedside'. As one commentator has observed, &quot;Translational medicine&quot; as a fashionable term is being increasingly used to describe the wish of biomedical researchers to ultimately help patients' (Wehling 2008, abstract). <br /> Semantic uncertainty persists, not least because of the different interests of scientists, clinicians, patients and commercial firms (Littman et al 2007): 'Translational research means different things to different people, but it seems important to almost everyone' (Woolf 2008, p 211).<br /> In related fields, such as public health (Armstrong et al 2006), 'translation' seems to signify dissatisfaction with 'transfer'. It wants to move away from thinking of knowledge transfer as a form of technology transfer or dissemination, rejecting if only by implication its mechanistic assumptions and its model of linear messaging from A to B. But still, what does it signify?<br /> <br /> ===Why translation?===<br /> 'Translation' indicates a closer attention to the problem of shared meaning and how it might be developed. It seems to represent some new epistemological lubricant, facilitating the dissemination of texts and the application and use of the knowledge and information they in. Simply, translation might be the key to transfer. And yet, when we stop to think, we are more ambivalent. What is translated often seems somehow inferior, not real or original. Note how readily commentators reach for the idea that things might be 'lost in translation'. Knowing at a distance – made in and mediated by translation - makes for incomplete renditions, blurred images, partial truths. So what might 'translation' really mean? The purpose of this paper is to set out, for policy makers and practitioners, the theoretical and conceptual resources translation holds and seems to represent. In doing so, it explores understandings of translation in the fields of literature and linguistics and in the sociology of science and technology. It begins by setting out just why this idea of translation should make immediate, intuitive sense in relation to research, policy and practice.<br /> 1translation in research, policy and practice research as translation<br /> Research often entails translation from one language to another: where data is collected from more than one ethnic group, for example, or where the language of the researcher is other than that of the research subject. It may draw on a secondary literature or source documents written in different languages, and may be published and disseminated in languages other than the one in which it is first written up.<br /> 2In a different way, to conduct an interview is to ask for an account of experience and its meanings, but it is also to construct and translate that experience in terms defined at least in part by the researcher. In representing what is said, transcripts then select data, usually excluding significant gesture and eye-contact, for example. Often, certain characteristics of speech-acts (such as hesitations) will be edited out. In turn, the format of the transcript shapes the analytic use the researcher may make of it. The basis of research 'findings', then, is an artefact, a transcript or translation, not an original interaction (Ochs 1979, Barnes, Bloor and Henry 1996, Ross 2009).<br /> 3In this way, the researcher recasts aspects of his or her problem or topic in new, scientific form: 'All researchers &quot;translate&quot; the experiences of others' (Temple 1997, p 609). Research is invariably conducted in a sort of 'metalanguage' (Hantrais and Ager 1985): the research process can be conceived as one of successive translations (from theoretical formulation to operationalization, transcription, interpretation and dissemination). Theorization is a process of reciprocal back and forth between theory and fact, in which conceptions of each are revised in order that one fit the other (Baldamus 1974).<br /> 4 It is a kind of translation: a rereading, re-use, re-application or re-representation of what we know in new terms (Turner 1980). Referencing, too, is an act of translation, a form of appropriation and incorporation of one text by another (Gilbert 1977).policy as translation Each of the fields covered by the paper is diverse and ill-defined, and there is no intention here to provide a comprehensive account of any them. Sources have been chosen for their relevance: main references are cited in the text, and additional sources listed in footnotes.<br /> <br /> 2For a brief introduction to the technical issues involved in social research in more than one language, see Birbili (2000). For translation issues in survey research and question design in general, see Ervin and Bower (1952) and Deutscher (1968); on translating survey research instruments (in this instance health-related quality of life measures), Bowden and Fox-Rushby (2003). On the use of translators and interpreters, see Temple (1997) and Jentsch (1998).<br /> 3For an interesting discussion of this problem, see Bourdieu (1999), esp pp 621-626, 'The risks of writing'. <br /> ===Difference between machine translation and human translators===<br /> Few people disagree on the differences between the two, but many argue over the quality of the translations. How accurate are machine translations? How reliable are human translations? Some say machine translation produces near-perfect translations while others are adamant that translations are incomprehensible and cause more problems than they solve. Results will, of course, vary depending on the source and target languages, the machine translation service used (e.g. Google Translate), and the complexity of the original text.<br /> Machine translation, love it or hate it, is here to stay. In fact, the machine translation market is growing at such a fast pace that it is predicted to reach $980 million by 2022.<br /> ===Machine translation: the pros and cons===<br /> The advantages of machine translation generally come down to two factors: it’s faster and cheaper. The downside to this is the standard of translation can be anywhere from inaccurate, to incomprehensible, and potentially dangerous (more on that shortly).<br /> ==The advantages of machine translation==<br /> Many free tools are readily available (Google Translate, Skype Translator, etc.)<br /> Quick turnaround time <br /> You can translate between multiple languages using one tool<br /> Translation technology is constantly improving<br /> The disadvantages of machine translation<br /> Level of accuracy can be very low <br /> Accuracy is also very inconsistent across different languages<br /> ==Machines can't translate context ==<br /> Mistakes are sometimes costly <br /> Sometimes translation simply doesn’t work<br /> The most important thing to consider with any kind of translation is the cost of potential mistakes. Translating instructions for medical equipment, aviation manuals, legal documents and many other kinds of content require 100% accuracy. In such cases, mistakes can cost lives, huge amounts of money and irreparable damage to your company’s image. So choose carefully!<br /> Human translation: the pros and cons<br /> Human translation essentially switches the table in terms of pros and cons. A higher standard of accuracy comes at the price of longer turnaround times and higher costs. What you have to decide is whether that initial investment outweighs the potential cost of mistakes. Alternatively, whether mistakes simply aren’t an option, like the cases we looked at in the previous section.<br /> <br /> ==The advantages of human translation ==<br /> It’s a translator’s job to ensure the highest accuracy<br /> Humans can interpret context and capture the same meaning, rather than simply translating words<br /> Human translators can review their work and provide a quality process<br /> Humans can interpret the creative use of language, e.g. puns, metaphors, slogans, etc.<br /> Professional translators understand the idiomatic differences between their languages<br /> Humans can spot pieces of content where literal translation isn’t possible and find the most suitable alternative<br /> The disadvantages of human translation<br /> Turnaround time is longer <br /> Translators rarely work for free <br /> Unless you use a translation agency, with access to thousands of translators, you’re limited to the languages any one translator can work with<br /> Simply put, human translation is your best option when accuracy is even remotely important. Other considerations to make are the complexity of your source material and the two languages you’re translating between – both of which can render machines pretty useless.<br /> <br /> When to use machine and human translation<br /> The truth is, the debate over machine vs human translation is an unnecessary distraction. What we should really be talking about is when to use these two different types of translation services, because they both serve a very valid purpose.<br /> <br /> Examples of when to use machine translation<br /> When you have a large bulk of content to translate and the general meaning is enough<br /> When your translation never reaches the final audience, e.g. you’re translating a resource as research for another piece of content<br /> Translating documents for internal use within a company, provided 100% accuracy isn’t needed<br /> To partially translate large chunks of content for a human translator to improve upon<br /> Examples of when to use human translation<br /> When accuracy is important<br /> Most cases where your translated content is received by a consumer audience<br /> When you have a duty of care to provide accurate translations (e.g. legal documents, product instructions, medical guidelines or health and safety content)<br /> When translating marketing material or other texts for creative language uses.<br /> <br /> types of machine translation.<br /> <br /> What is Machine Translation? Rule Based Machine Translation vs. Statistical Machine Translation. Machine translation (MT) is automated translation. It is the process by which computer software is used to translate a text from one natural language (such as English) to another (such as Spanish).<br /> <br /> To process any translation, human or automated, the meaning of a text in the original (source) language must be fully restored in the target language, i.e. the translation. While on the surface this seems straightforward, it is far more complex. Translation is not a mere word-for-word substitution. A translator must interpret and analyze all of the elements in the text and know how each word may influence another. This requires extensive expertise in grammar, syntax (sentence structure), semantics (meanings), etc., in the source and target languages, as well as familiarity with each local region.<br /> <br /> Human and machine translation each have their share of challenges. For example, no two individual translators can produce identical translations of the same text in the same language pair, and it may take several rounds of revisions to meet customer satisfaction. But the greater challenge lies in how machine translation can produce publishable quality translations.<br /> <br /> Rule-Based Machine Translation Technology<br /> Rule-based machine translation relies on countless built-in linguistic rules and millions of bilingual dictionaries for each language pair.<br /> The software parses text and creates a transitional representation from which the text in the target language is generated. This process requires extensive lexicons with morphological, syntactic, and semantic information, and large sets of rules. The software uses these complex rule sets and then transfers the grammatical structure of the source language into the target language.<br /> Translations are built on gigantic dictionaries and sophisticated linguistic rules. Users can improve the out-of-the-box translation quality by adding their terminology into the translation process. They create user-defined dictionaries which override the system’s default settings.<br /> In most cases, there are two steps: an initial investment that significantly increases the quality at a limited cost, and an ongoing investment to increase quality incrementally. While rule-based MT brings companies to the quality threshold and beyond, the quality improvement process may be long and expensive.<br /> <br /> Statistical Machine Translation Technology<br /> Statistical machine translation utilizes statistical translation models whose parameters stem from the analysis of monolingual and bilingual corpora. Building statistical translation models is a quick process, but the technology relies heavily on existing multilingual corpora. A minimum of 2 million words for a specific domain and even more for general language are required. Theoretically it is possible to reach the quality threshold but most companies do not have such large amounts of existing multilingual corpora to build the necessary translation models. Additionally, statistical machine translation is CPU intensive and requires an extensive hardware configuration to run translation models for average performance levels.<br /> <br /> Rule-Based MT vs. Statistical MT<br /> Rule-based MT provides good out-of-domain quality and is by nature predictable. Dictionary-based customization guarantees improved quality and compliance with corporate terminology. But translation results may lack the fluency readers expect. In terms of investment, the customization cycle needed to reach the quality threshold can be long and costly. The performance is high even on standard hardware.<br /> <br /> Statistical MT provides good quality when large and qualified corpora are available. The translation is fluent, meaning it reads well and therefore meets user expectations. However, the translation is neither predictable nor consistent. Training from good corpora is automated and cheaper. But training on general language corpora, meaning text other than the specified domain, is poor. Furthermore, statistical MT requires significant hardware to build and manage large translation models.<br /> <br /> Rule-Based MT Statistical MT<br /> + Consistent and predictable quality – Unpredictable translation quality<br /> + Out-of-domain translation quality – Poor out-of-domain quality<br /> + Knows grammatical rules – Does not know grammar <br /> + High performance and robustness – High CPU and disk space requirements<br /> + Consistency between versions – Inconsistency between versions <br /> – Lack of fluency + Good fluency<br /> – Hard to handle exceptions to rules + Good for catching exceptions to rules <br /> – High development and customization costs + Rapid and cost-effective development costs provided the required corpus exists<br /> Given the overall requirements, there is a clear need for a third approach through which users would reach better translation quality and high performance (similar to rule-based MT), with less investment (similar to statistical MT).<br /> Post-Edited Machine Translation (PEMT)<br /> Often, PEMT is used to bridge the gap between the speed of machine translation and the quality of human translation, as translators review, edit and improve machine-translated texts. PEMT services cost more than plain machine translations but less than 100% human translation, especially since the post-editors don’t have to be fluently bilingual—they just have to be skilled proofreaders with some experience in the language and target region.<br /> Successful translation is about more than just the words, which is why we advocate for not just human translation by skilled linguists, but for translation by people deeply familiar with the cultures they’re writing for. Life experience, study and the knowledge that only comes from living in a geographic region can make the difference between words that are understandable and language that is capable of having real, positive impact. <br /> <br /> PacTranz<br /> The HUGE list of 51 translation types, methods and techniques<br /> Upper section of infographic of 51 common types of translation classified in 4 broad categoriesThere are a bewildering number of different types of translation.<br /> So we’ve identified the 51 types you’re most likely to come across, and explain exactly what each one means.<br /> This includes all the main translation methods, techniques, strategies, procedures and areas of specialisation.<br /> It’s our way of helping you make sense of the many different kinds of translation – and deciding which ones are right for you.<br /> Don’t miss our free summary pdf download later in the article!<br /> The 51 types of translation we’ve identified fall neatly into four distinct categories.<br /> Translation Category A: 15 types of translation based on the technical field or subject area of the text<br /> Icons representing 15 types of translation categorised by the technical field or subject area of the textTranslation companies often define the various kinds of translation they provide according to the subject area of the text.<br /> This is a useful way of classifying translation types because specialist texts normally require translators with specialist knowledge.<br /> Here are the most common types you’re like to come across in this category.<br /> <br /> 1. General Translation<br /> What is it?<br /> The translation of non-specialised text. That is, text that we can all understand without needing specialist knowledge in some area.<br /> The text may still contain some technical terms and jargon, but these will either be widely understood, or easily researched.<br /> What this means<br /> The implication is that you don’t need someone with specialist knowledge for this type of translation – any professional translator can handle them.<br /> Translators who only do this kind of translation (don’t have a specialist field) are sometimes referred to as ‘generalist’ or ‘general purpose’ translators.<br /> Examples<br /> Most business correspondence, website content, company and product/service info, non-technical reports.<br /> Most of the rest of the translation types in this Category do require specialist translators.<br /> Check out our video on 13 types of translation requiring special translator expertise:<br /> <br /> 2. Technical Translation<br /> What is it?<br /> We use the term “technical translation” in two different ways:<br /> Broad meaning: any translation where the translator needs specialist knowledge in some domain or area.<br /> This definition would include almost all the translation types described in this section.<br /> Narrow meaning: limited to the translation of engineering (in all its forms), IT and industrial texts.<br /> This narrower meaning would exclude legal, financial and medical translations for example, where these would be included in the broader definition.<br /> What this means<br /> Technical translations require knowledge of the specialist field or domain of the text.<br /> That’s because without it translators won’t completely understand the text and its implications. And this is essential if we want a fully accurate and appropriate translation.Good to know Many technical translation projects also have a typesetting/dtp requirement. Be sure your translation provider can handle this component, and that you’ve allowed for it in your project costings and time frames.<br /> Examples<br /> Manuals, specialist reports, product brochures<br /> <br /> 3. Scientific Translation<br /> What is it?<br /> The translation of scientific research or documents relating to it.<br /> What this means<br /> These texts invariably contain domain-specific terminology, and often involve cutting edge research.<br /> So it’s imperative the translator has the necessary knowledge of the field to fully understand the text. That’s why scientific translators are typically either experts in the field who have turned to translation, or professionally qualified translators who also have qualifications and/or experience in that domain.<br /> On occasion the translator may have to consult either with the author or other domain experts to fully comprehend the material and so translate it appropriately.<br /> Examples<br /> Research papers, journal articles, experiment/trial results<br /> <br /> 4. Medical Translation<br /> What is it?<br /> The translation of healthcare, medical product, pharmaceutical and biotechnology materials.<br /> Medical translation is a very broad term covering a wide variety of specialist areas and materials – everything from patient information to regulatory, marketing and technical documents.<br /> As a result, this translation type has numerous potential sub-categories – ‘medical device translations’ and ‘clinical trial translations’, for example.<br /> What this means<br /> As with any text, the translators need to fully understand the materials they’re translating. That means sound knowledge of medical terminology and they’ll often also need specific subject-matter expertise.<br /> Good to know<br /> Many countries have specific requirements governing the translation of medical device and pharmaceutical documentation. This includes both your client-facing and product-related materials.<br /> Examples<br /> Medical reports, product instructions, labeling, clinical trial documentation<br /> <br /> 5. Financial Translation<br /> What is it?<br /> In broad terms, the translation of banking, stock exchange, forex, financing and financial reporting documents.<br /> However, the term is generally used only for the more technical of these documents that require translators with knowledge of the field.<br /> Any competent translator could translate a bank statement, for example, so that wouldn’t typically be considered a financial translation.<br /> What this means<br /> You need translators with domain expertise to correctly understand and translate the financial terminology in these texts.<br /> Examples<br /> Company accounts, annual reports, fund or product prospectuses, audit reports, IPO documentation<br /> <br /> 6. Economic Translations<br /> What is it?<br /> 1. Sometimes used as a synonym for financial translations.<br /> 2. Other times used somewhat loosely to refer to any area of economic activity – so combining business/commercial, financial and some types of technical translations.<br /> 3. More narrowly, the translation of documents relating specifically to the economy and the field of economics.<br /> What this means<br /> As always, you need translators with the relevant expertise and knowledge for this type of translation.<br /> <br /> 7. Legal Translation<br /> What is it?<br /> The translation of documents relating to the law and legal process.<br /> What this means<br /> Legal texts require translators with a legal background.<br /> That’s because without it, a translator may not:<br /> – fully understand the legal concepts<br /> – write in legal style<br /> – understand the differences between legal systems, and how best to translate concepts that don’t correspond.<br /> And we need all that to produce professional quality legal translations – translations that are accurate, terminologically correct and stylistically appropriate.<br /> Examples<br /> Contracts, legal reports, court judgments, expert opinions, legislation<br /> <br /> 8. Juridical Translation<br /> What is it?<br /> 1. Generally used as a synonym for legal translations.<br /> 2. Alternatively, can refer to translations requiring some form of legal verification, certification or notarization that is common in many jurisdictions.<br /> <br /> 9. Judicial Translation<br /> What is it?<br /> 1. Most commonly a synonym for legal translations.<br /> 2. Rarely, used to refer specifically to the translation of court proceeding documentation – so judgments, minutes, testimonies, etc. <br /> <br /> 10. Patent Translation<br /> What is it?<br /> The translation of intellectual property and patent-related documents.<br /> Key features<br /> Patents have a specific structure, established terminology and a requirement for complete consistency throughout – read more on this here. These are key aspects to patent translations that translators need to get right.<br /> In addition, subject matter can be highly technical.<br /> What this means<br /> You need translators who have been trained in the specific requirements for translating patent documents. And with the domain expertise needed to handle any technical content.<br /> Examples<br /> Patent specifications, prior art documents, oppositions, opinions<br /> <br /> 11. Literary Translation<br /> What is it?<br /> The translation of literary works – novels, short stories, plays, essays, poems.<br /> Key features<br /> Literary translation is widely regarded as the most difficult form of translation.<br /> That’s because it involves much more than simply conveying all meaning in an appropriate style. The translator’s challenge is to also reproduce the character, subtlety and impact of the original – the essence of what makes that work unique.<br /> This is a monumental task, and why it’s often said that the translation of a literary work should be a literary work in its own right.<br /> What this means<br /> Literary translators must be talented wordsmiths with exceptional creative writing skills.<br /> Because few translators have this skillset, you should only consider dedicated literary translators for this type of translation.<br /> <br /> <br /> 12. Commercial Translation<br /> What is it?<br /> The translation of documents relating to the world of business.<br /> This is a very generic, wide-reaching translation type. It includes other more specialised forms of translation – legal, financial and technical, for example. And all types of more general business documentation.<br /> Also, some documents will require familiarity with business jargon and an ability to write in that style.<br /> What this means<br /> Different translators will be required for different document types – specialists should handle materials involving technical and specialist fields, whereas generalist translators can translate non-specialist materials.<br /> Examples<br /> Business correspondence, reports, marketing and promotional materials, sales proposals<br /> <br /> 13. Business Translations<br /> What is it?<br /> A synonym for Commercial Translations.<br /> <br /> 14. Administrative Translations<br /> What is it?<br /> The translation of business management and administration documents.<br /> So it’s a subset of business / commercial translations.<br /> What this means<br /> The implication is these documents will include business jargon and ‘management speak’, so require a translator familiar with, and practised at, writing in that style.<br /> Examples<br /> Management reports and proposals<br /> <br /> 15. Marketing Translations<br /> What is it?<br /> The translation of advertising, marketing and promotional materials.<br /> This is a subset of business or commercial translations.<br /> Key features<br /> Marketing copy is designed to have a specific impact on the audience – to appeal and persuade.<br /> So the translated copy must do this too.<br /> But a direct translation will seldom achieve this – so translators need to adapt their wording to produce the impact the text is seeking.<br /> And sometimes a completely new message might be needed – see transcreation in our next category of translation types.<br /> What this means<br /> Marketing translations require translators who are skilled writers with a flair for producing persuasive, impactful copy.<br /> As relatively few translators have these skills, engaging the right translator is key.<br /> Good to know<br /> This type of translation often comes with a typesetting or dtp requirement – particularly for adverts, posters, brochures, etc.<br /> Its best for your translation provider to handle this component. That’s because multilingual typesetters understand the design and aesthetic conventions in other languages/cultures. And these are essential to ensure your materials have the desired impact and appeal in your target markets.<br /> Examples<br /> Advertising, brochures, some website/social media text.<br /> Translation Category B: 14 types of translation based on the end product or use of the translation<br /> This category is all about how the translation is going to be used or the end product that’s produced.<br /> Most of these types involve either adapting or processing a completed translation in some way, or converting or incorporating it into another program or format.<br /> You’ll see that some are very specialised, and complex.<br /> It’s another way translation providers refer to the range of services they provide.<br /> Check out our video of the most specialised of these types of translation:<br /> <br /> 16. Document Translations<br /> What is it?<br /> The translation of documents of all sorts.<br /> Here the translation itself is the end product and needs no further processing beyond standard formatting and layout.<br /> <br /> 17. Text Translations<br /> What is it?<br /> A synonym for document translation.<br /> <br /> 18. Certified Translations<br /> What is it?<br /> A translation with some form of certification.<br /> Key features<br /> The certification can take many forms. It can be a statement by the translation company, signed and dated, and optionally with their company seal. Or a similar certification by the translator.<br /> The exact format and wording will depend on what clients and authorities require – here’s an example.<br /> <br /> 19. Official Translations<br /> What is it?<br /> 1. Generally used as a synonym for certified translations.<br /> 2. Can also refer to the translation of ‘official’ documents issued by the authorities in a foreign country. These will almost always need to be certified.<br /> <br /> 20. Software Localisation<br /> What is it?<br /> Adapting software for another language/culture.<br /> Key features<br /> The goal of software localisation is not just to make the program or product available in other languages. It’s also about ensuring the user experience in those languages is as natural and effective as possible.<br /> Translating the user interface, messaging, documentation, etc is a major part of the process.<br /> Also key is a customisation process to ensure everything matches the conventions, norms and expectations of the target cultures.<br /> Adjusting time, date and currency formats are examples of simple customisations. Others might involve adapting symbols, graphics, colours and even concepts and ideas.<br /> Localisation is often preceded by internationalisation – a review process to ensure the software is optimally designed to handle other languages.<br /> And it’s almost always followed by thorough testing – to ensure all text is in the correct place and fits the space, and that everything makes sense, functions as intended and is culturally appropriate.<br /> Localisation is often abbreviated to L10N, internationalisation to i18n.<br /> What this means<br /> Software localisation is a specialised kind of translation, and you should always engage a company that specialises in it.<br /> They’ll have the systems, tools, personnel and experience needed to achieve top quality outcomes for your product.<br /> <br /> 21. Game Localisation<br /> What is it?<br /> Adapting games for other languages and markets.<br /> <br /> It’s a subset of software localisation.<br /> Key features<br /> The goal of game localisation is to provide an engaging and fun gaming experience for speakers of other languages.<br /> <br /> It involves translating all text and recording any required foreign language audio.<br /> <br /> But also adapting anything that would clash with the target culture’s customs, sensibilities and regulations.<br /> <br /> For example, content involving alcohol, violence or gambling may either be censored or inappropriate in the target market.<br /> <br /> And at a more basic level, anything that makes users feel uncomfortable or awkward will detract from their experience and thus the success of the game in that market.<br /> <br /> So portions of the game may have to be removed, added to or re-worked.<br /> <br /> Game localisation involves at least the steps of translation, adaptation, integrating the translations and adaptations into the game, and testing.<br /> <br /> What this means<br /> Game localisation is a very specialised type of translation best left to those with specific expertise and experience in this area.<br /> <br /> 22. Multimedia Localisation<br /> What is it?<br /> Adapting multimedia for other languages and cultures.<br /> <br /> Multimedia refers to any material that combines visual, audio and/or interactive elements. So videos and movies, on-line presentations, e-Learning courses, etc.<br /> Key features<br /> Anything a user can see or hear may need localising.<br /> <br /> That means the audio and any text appearing on screen or in images and animations.<br /> <br /> Plus it can mean reviewing and adapting the visuals and/or script if these aren’t suitable for the target culture.<br /> <br /> The localisation process will typical involve:<br /> – Translation<br /> – Modifying the translation for cultural reasons and/or to meet technical requirements<br /> – Producing the other language versions<br /> <br /> Audio output may be voice-overs, dubbing or subtitling.<br /> <br /> And output for visuals can involve re-creating elements, or supplying the translated text for the designers/engineers to incorporate.<br /> <br /> What this means<br /> Multimedia localisation projects vary hugely, and it’s essential your translation providers have the specific expertise needed for your materials.<br /> <br /> <br /> <br /> 23. Script Translations<br /> What is it?<br /> Preparing the text of recorded material for recording in other languages.<br /> Key features<br /> There are several issues with script translation.<br /> <br /> One is that translations typically end up longer than the original script. So voicing the translation would take up more space/time on the video than the original language.<br /> <br /> Sometimes that space will be available and this will be OK.<br /> <br /> But generally it won’t be. So the translation has to be edited back until it can be comfortably voiced within the time available on the video.<br /> <br /> Another challenge is the translation may have to synchronise with specific actions, animations or text on screen.<br /> <br /> Also, some scripts also deal with technical subject areas involving specialist technical terminology.<br /> <br /> Finally, some scripts may be very culture-specific – featuring humour, customs or activities that won’t work well in another language. Here the script, and sometimes also the associated visuals, may need to be adjusted before beginning the translation process.<br /> <br /> It goes without saying that a script translation must be done well. If it’s not, there’ll be problems producing a good foreign language audio, which will compromise the effectiveness of the video.<br /> <br /> Translators typically work from a time-coded transcript. This is the original script marked to show the time available for each section of the translation.<br /> <br /> What this means<br /> There are several potential pitfalls in script translations. So it’s vital your translation provider is practiced at this type of translation and able to handle any technical content.<br /> <br /> <br /> <br /> 24. Voice-over and Dubbing Projects<br /> What is it?<br /> Translation and recording of scripts in other languages.<br /> <br /> Voice-overs vs dubbing<br /> There is a technical difference.<br /> A voice-over adds a new track to the production, dubbing replaces an existing one.<br /> <br /> <br /> Key features<br /> These projects involve two parts:<br /> – a script translation (as described above), and<br /> – producing the audio<br /> <br /> So they involve the combined efforts of translators and voice artists.<br /> The task for the voice artist is to produce a high quality read. That’s one that matches the style, tone and richness of the original.<br /> <br /> Often each section of the new audio will need to be the same length as the original.<br /> <br /> But sometimes the segments will need to be shorter – for example where the voice-over lags the original by a second or two. This is common in interviews etc, where the original voice is heard initially then drops out.<br /> <br /> The most difficult form of dubbing is lip-syncing – where the new audio needs to synchronise with the original speaker’s lip movements, gestures and actions.<br /> <br /> Lip-syncing requires an exceptionally skilled voice talent and considerable time spent rehearsing and fine tuning the translation.<br /> <br /> What this means<br /> You need to use experienced professionals every step of the way in this type of project.<br /> <br /> That’s to ensure firstly that your foreign-language scripts are first class, then that the voicing is of high professional standard.<br /> <br /> Anything less will mean your foreign language versions will be way less effective and appealing to your target audience.<br /> <br /> <br /> <br /> 25. Subtitle Translations<br /> What is it?<br /> Producing foreign language captions for sub or surtitles.<br /> Key features<br /> The goal with subtitling is to produce captions that viewers can comfortably read in the time available and still follow what’s happening on the video.<br /> <br /> To achieve this, languages have “rules” governing the number of characters per line and the minimum time each subtitle should display.<br /> <br /> Sticking to these guidelines is essential if your subtitles are to be effective.<br /> <br /> But this is no easy task – it requires simple language, short words, and a very succinct style. Translators will spend considerable time mulling over and re-working their translation to get it just right.<br /> <br /> Most subtitle translators use specialised software that will output the captions in the format sound engineers need for incorporation into the video.<br /> <br /> What this means<br /> As with other specialised types of translation, you should only use translators with specific expertise and experience in subtitling.<br /> <br /> <br /> <br /> 26. Website Localisation<br /> What is it?<br /> The translation and adapting of relevant content on a website to best suit the target language and culture.<br /> <br /> Note: Many providers use the term website translation as a synonym for localisation. Strictly speaking though, translation is just one part of localisation.<br /> Key features<br /> <br /> Not all pages on a website may need to be localised – clients should review their content to identify what’s relevant for the other language versions.<br /> Some content may need specialist translators – legal and technical pages for example.<br /> There may also be videos, linked documents, and text or captions in graphics to translate.<br /> Adaptation can mean changing date, time, currency and number formats, units of measure, etc.<br /> But also images, colours and even the overall site design and style if these won’t have the desired impact in the target culture.<br /> Translated files can be supplied in a wide range of formats – translators usually coordinate output with the site webmasters.<br /> New language versions are normally thoroughly reviewed and tested before going live to confirm everything is displaying correctly, works as intended and is cultural appropriate.<br /> What this means<br /> The first step should be to review your content and identify what needs to be translated. This might lead you to modify some pages for the foreign language versions.<br /> <br /> In choosing your translation providers be sure they can:<br /> – handle any technical or legal content,<br /> – provide your webmaster with the file types they want.<br /> <br /> And you should always get your translators to systematically review the foreign language versions before going live.<br /> <br /> <br /> <br /> 27. Transcreation<br /> What is it?<br /> Adapting a message to elicit the same emotional response in another language and culture.<br /> Translation is all about conveying the message or meaning of a text in another language. But sometimes that message or meaning won’t have the desired effect in the target culture.<br /> <br /> This is where transcreation comes in. Transcreation creates a new message that will get the desired emotional response in that culture, while preserving the style and tone of the original.<br /> <br /> So it’s a sort of creative translation – which is where the word comes from, a combination of ‘translation’ and ‘creation’.<br /> <br /> At one level transcreation may be as simple as choosing an appropriate idiom to convey the same intent in the target language – something translators do all the time.<br /> <br /> But mostly the term is used to refer to adapting key advertising and marketing messaging. Which requires copywriting skills, cultural awareness and an excellent knowledge of the target market.<br /> <br /> Who does it?<br /> Some translation companies have suitably skilled personnel and offer transcreation services.<br /> <br /> Often though it’s done in the target country by specialist copywriters or an advertising or marketing agency – particularly for significant campaigns and to establish a brand in the target marketplace.<br /> <br /> What this means<br /> Most general marketing and promotional texts won’t need transcreation – they can be handled by a translator with excellent creative writing skills.<br /> <br /> But slogans, by-lines, advertising copy and branding statements often do.<br /> <br /> Whether you should opt for a translation company or an in-market agency will depend on the nature and importance of the material, and of course your budget.<br /> <br /> <br /> <br /> 28. Audio Translations<br /> What is it?<br /> Broad meaning: the translation of any type of recorded material into another language.<br /> <br /> More commonly: the translation of a foreign language video or audio recording into your own language. So this is where you want to know and document what a recording says.<br /> Key features<br /> The first challenge with audio translations is it’s often impossible to pick up every word that’s said. That’s because audio quality, speech clarity and speaking speed can all vary enormously.<br /> <br /> It’s also a mentally challenging task to listen to an audio and translate it directly into another language. It’s easy to miss a word or an aspect of meaning.<br /> <br /> So best practice is to first transcribe the audio (type up exactly what is said in the language it is spoken in), then translate that transcription.<br /> <br /> However, this is time consuming and therefore costly, and there are other options if lesser precision is acceptable.<br /> <br /> What this means<br /> It’s best to discuss your requirements for this kind of translation with your translation provider. They’ll be able to suggest the best translation process for your needs.<br /> <br /> Examples<br /> Interviews, product videos, police recordings, social media videos.<br /> <br /> <br /> <br /> 29. Translations with DTP<br /> What is it?<br /> Translation incorporated into graphic design files.multilingual dtp example in the form of a Rubik's Cube with foreign text on each square<br /> Key features<br /> Graphic design programs are used by professional designers and graphic artists to combine text and images to create brochures, books, posters, packaging, etc.<br /> <br /> Translation plus dtp projects involve 3 steps – translation, typesetting, output.<br /> <br /> The typesetting component requires specific expertise and resources – software and fonts, typesetting know-how, an appreciation of foreign language display conventions and aesthetics.<br /> <br /> What this means<br /> Make sure your translation company has the required multilingual typesetting/desktop publishing expertise whenever you’re translating a document created in a graphic design program.<br /> <br /> Translation Category C: 13 types of translation based on the translation method employed<br /> This category has two sub-groups:<br /> – the practical methods translation providers use to produce their translations, and<br /> – the translation strategies/methods identified and discussed within academia.<br /> <br /> The translation methods translation providers use<br /> There are 4 main methods used in the translation industry today. We have an overview of each below, but for more detail, including when to use each one, see our comprehensive blog article.<br /> <br /> Or watch our video.<br /> <br /> Important: If you’re a client you need to understand these 4 methods – choose the wrong one and the translation you end up with may not meet your needs!<br /> <br /> <br /> 30. Machine Translation (MT)<br /> What is it?<br /> A translation produced entirely by a software program with no human intervention.<br /> <br /> A widely used, and free, example is Google Translate. And there are also commercial MT engines, generally tailored to specific domains, languages and/or clients.<br /> <br /> Pros and cons<br /> There are two limitations to MT:<br /> – they make mistakes (incorrect translations), and<br /> – quality of wording is patchy (some parts good, others unnatural or even nonsensical)<br /> <br /> On they positive side they are virtually instantaneous and many are free.<br /> <br /> Best suited for:<br /> Getting the general idea of what a text says.<br /> <br /> This method should never be relied on when high accuracy and/or good quality wording is needed.<br /> <br /> <br /> <br /> 31. Machine Translation plus Human Editing (PEMT)<br /> What is it?<br /> A machine translation subsequently edited by a human translator or editor (often called Post-editing Machine Translation = PEMT).<br /> <br /> The editing process is designed to rectify some of the deficiencies of a machine translation.<br /> <br /> This process can take different forms, with different desired outcomes. Probably most common is a ‘light editing’ process where the editor ensures the text is understandable, without trying to fix quality of expression.<br /> <br /> Pros and cons<br /> This method won’t necessarily eliminate all translation mistakes. That’s because the program may have chosen a wrong word (meaning) that wasn’t obvious to the editor.<br /> <br /> And wording won’t generally be as good as a professional human translator would produce.<br /> <br /> Its advantage is it’s generally quicker and a little cheaper than a full translation by a professional translator.<br /> <br /> Best suited for:<br /> Translations for information purposes only.<br /> <br /> Again, this method shouldn’t be used when full accuracy and/or consistent, natural wording is needed.<br /> <br /> <br /> <br /> 32. Human Translation<br /> What is it?<br /> Translation by a professional human translator.<br /> Pros and cons<br /> Professional translators should produce translations that are fully accurate and well-worded.<br /> <br /> That said, there is always the possibility of ‘human error’, which is why translation companies like us typically offer an additional review process – see next method.<br /> <br /> This method will take a little longer and likely cost more than the PEMT method.<br /> <br /> Best suited for:<br /> Most if not all translation purposes.<br /> <br /> <br /> <br /> 33. Human Translation + Revision<br /> What is it?<br /> A human translation with an additional review by a second translator.<br /> <br /> The review is essentially a safety check – designed to pick up any translation errors and refine wording if need be.<br /> <br /> Pros and cons<br /> This produces the highest level of translation quality.<br /> <br /> It’s also the most expensive of the 4 methods, and takes the longest.<br /> <br /> Best suited for:<br /> All translation purposes.<br /> <br /> Gearwheel with 5 practical translation methods written on the teeth <br /> There’s also one other common term used by practitioners and academics alike to describe a type (method) of translation:<br /> <br /> 34. Computer-Assisted Translation (CAT)<br /> What is it?<br /> A human translator using computer tools to aid the translation process.<br /> <br /> Key features<br /> Virtually all translators use such tools these days.<br /> <br /> The most prevalent tool is Translation Memory (TM) software. This creates a database of previous translations that can be accessed for future work.<br /> <br /> TM software is particularly useful when dealing with repeated and closely-matching text, and for ensuring consistency of terminology. For certain projects it can speed up the translation process.<br /> <br /> <br /> <br /> The translation methods described by academia<br /> A great deal has been written within academia analysing how human translators go about their craft.<br /> <br /> Seminal has been the work of Newmark, and the following methods of translation attributed to him are widely discussed in the literature.Gearwheel with Newmark's 8 translation methods written on the teeth <br /> These methods are approaches and strategies for translating the text as a whole, not techniques for handling smaller text units, which we discuss in our final translation category.<br /> <br /> <br /> <br /> 35. Word-for-word Translation<br /> This method translates each word into the other language using its most common meaning and keeping the word order of the original language.<br /> <br /> So the translator deliberately ignores context and target language grammar and syntax.<br /> <br /> Its main purpose is to help understand the source language structure and word use.<br /> <br /> Often the translation will be placed below the original text to aid comparison.<br /> <br /> <br /> <br /> 36. Literal Translation<br /> Words are again translated independently using their most common meanings and out of context, but word order changed to the closest acceptable target language grammatical structure to the original.<br /> <br /> Its main suggested purpose is to help someone read the original text.<br /> <br /> <br /> <br /> 37. Faithful Translation<br /> Faithful translation focuses on the intention of the author and seeks to convey the precise meaning of the original text.<br /> <br /> It uses correct target language structures, but structure is less important than meaning.<br /> <br /> <br /> <br /> 38. Semantic Translation<br /> Semantic translation is also author-focused and seeks to convey the exact meaning.<br /> <br /> Where it differs from faithful translation is that it places equal emphasis on aesthetics, ie the ‘sounds’ of the text – repetition, word play, assonance, etc.<br /> <br /> In this method form is as important as meaning as it seeks to “recreate the precise flavour and tone of the original” (Newmark).slide showing definition of semantic translation as a translation method<br /> <br /> 39. Communicative Translation<br /> Seeks to communicate the message and meaning of the text in a natural and easily understood way.<br /> <br /> It’s described as reader-focused, seeking to produce the same effect on the reader as the original text.<br /> <br /> A good comparison of Communicative and Semantic translation can be found here.<br /> <br /> 40. Free Translation<br /> Here conveying the meaning and effect of the original are all important.<br /> <br /> There are no constraints on grammatical form or word choice to achieve this.<br /> <br /> Often the translation will paraphrase, so may be of markedly different length to the original.<br /> <br /> 41. Adaptation<br /> Mainly used for poetry and plays, this method involves re-writing the text where the translation would otherwise lack the same resonance and impact on the audience.<br /> <br /> Themes, storylines and characters will generally be retained, but cultural references, acts and situations adapted to relevant target culture ones.<br /> <br /> So this is effectively a re-creation of the work for the target culture.<br /> <br /> 42. Idiomatic Translation<br /> Reproduces the meaning or message of the text using idioms and colloquial expressions and language wherever possible.<br /> <br /> The goal is to produce a translation with language that is as natural as possible.<br /> <br /> Translation Category D: 9 types of translation based on the translation technique used<br /> These translation types are specific strategies, techniques and procedures for dealing with short chunks of text – generally words or phrases.<br /> <br /> They’re often thought of as techniques for solving translation problems.<br /> <br /> They differ from the translation methods of the previous category which deal with the text as a whole.<br /> 9 translation techniques as titles of books in a bookcase<br /> <br /> 43. Borrowing<br /> What is it?<br /> Using a word or phrase from the original text unchanged in the translation.<br /> <br /> Key features<br /> With this procedure we don’t translate the word or phrase at all – we simply ‘borrow’ it from the source language.<br /> <br /> Borrowing is a very common strategy across languages. Initially, borrowed words seem clearly ‘foreign’, but as they become more familiar, they can lose that ‘foreignness’.<br /> <br /> Translators use this technique:<br /> – when it’s the best word to use – either because it has become the standard, or it’s the most precise term, or<br /> – for stylist effect – borrowings can add a prestigious or scholarly flavour.<br /> <br /> Borrowed words or phrases are often italicised in English.<br /> <br /> Examples of borrowings in English<br /> grand prix, kindergarten, tango, perestroika, barista, sampan, karaoke, tofu<br /> <br /> <br /> 44. Transliteration<br /> What is it?<br /> Reproducing the approximate sounds of a name or term from a language with a different writing system.<br /> <br /> Key features<br /> In English we use the Roman (Latin) alphabet in common with many other languages including almost all European languages.<br /> <br /> Other writing systems include Arabic, Cyrillic, Chinese, Japanese, Korean, Thai, and the Indian languages.<br /> <br /> Transliteration from such systems into the Roman alphabet is also called romanisation.<br /> <br /> There are accepted systems for how individual letters/sounds should be romanised from most other languages – there are three common systems for Chinese, for example.<br /> <br /> English borrowings from languages using non-Roman writing systems also require transliteration – perestroika, sampan, karaoke, tofu are examples from the above list.<br /> <br /> Translators mostly use transliteration as a procedure for translating proper names.<br /> <br /> Examples<br /> 毛泽东 Mao Tse-tung or Mao Zedong<br /> Владимир Путин Vladimir Putin<br /> 서울 Seoul<br /> ភ្នំពេញ Phnom Penh<br /> <br /> 45. Calque or Loan Translation<br /> What is it?<br /> A literal translation of a foreign word or phrase to create a new term with the same meaning in the target language.<br /> <br /> So a calque is a borrowing with translation if you like. The new term may be changed slightly to reflect target language structures.<br /> <br /> Examples<br /> German ‘Kindergarten’ has been calqued as детский сад in Russian, literally ‘children garden’ in both languages.<br /> <br /> Chinese 洗腦 ‘wash’ + ‘brain’ is the origin of ‘brainwash’ in English.<br /> <br /> English skyscraper is calqued as gratte-ciel in French and rascacielos in Spanish, literally ‘scratches sky’ in both languages.<br /> <br /> 46. Word-for-word translation<br /> What is it?<br /> A literal translation that is natural and correct in the target language.<br /> <br /> Alternative names are ‘literal translation’ or ‘metaphrase’.<br /> <br /> Note: this technique is different to the translation method of the same name, which does not produce correct and natural text and has a different purpose.<br /> <br /> Key features<br /> This translation strategy will only work between languages that have very similar grammatical structures.<br /> <br /> And even then, only sometimes.<br /> <br /> For example, standard word order in Turkish is Subject-Object-Verb whereas in English it’s Subject-Verb-Object. So a literal translation between these two will seldom work:<br /> – Yusuf elmayı yedi is literally ‘Joseph the apple ate’.<br /> <br /> When word-for-word translations don’t produce natural and correct text, translators resort to some of the other techniques described below.<br /> Examples<br /> French ‘Quelle heure est-il?’ works into English as ‘What time is it?’.<br /> <br /> Russian ‘Oн хочет что-нибудь поесть’ is ‘He wants something to eat’.<br /> <br /> 47. Transposition<br /> What is it?<br /> Translation with a change of grammatical structure.<br /> <br /> This technique gives the translation more natural wording and/or makes it grammatically correct.<br /> <br /> Examples<br /> A change in word order:<br /> Our Turkish example Yusuf elmayı yedi (literally ‘Joseph the apple ate’) –&gt; Joseph ate the apple.<br /> <br /> Spanish La Casa Blanca (literally ‘The House White’) –&gt; The White House<br /> <br /> A change in grammatical category:<br /> German Er hört gerne Musik (literally ‘he listens gladly [to] music’)<br /> = subject pronoun + verb + adverb + noun<br /> becomes Spanish Le gusta escuchar música (literally ‘[to] him [it] pleases to listen [to] music’)<br /> = indirect object pronoun + verb + infinitive + noun<br /> and English He likes listening to music<br /> = subject pronoun + verb + gerund + noun.<br /> <br /> 48. Modulation<br /> What is it?<br /> Translation with a change of focus or point of view in the target language.<br /> <br /> This technique makes the translation more idiomatic – how people would normally say it in the language.<br /> <br /> Examples<br /> English talks of the ‘top floor’ of a building, French the dernier étage = last floor. ‘Last floor’ would be unnatural in English, so too ‘top floor’ in French.<br /> <br /> German uses the term Lebensgefahr (literally ‘danger to life’) where in English we’d be more likely to say ‘risk of death’.<br /> In English we’d say ‘I dropped the key’, in Spanish se me cayó la llave, literally ‘the key fell from me’. The English perspective is that I did something (dropped the key), whereas in Spanish something happened to me – I’m the recipient of the action.<br /> <br /> 49. Equivalence or Reformulation<br /> What is it?<br /> Translating the underlying concept or meaning using a totally different expression.<br /> <br /> This technique is widely used when translating idioms and proverbs.<br /> <br /> And it’s common in titles and advertising slogans.<br /> <br /> It’s a common strategy where a direct translation either wouldn’t make sense or wouldn’t resonate in the same way.<br /> <br /> Examples<br /> Here are some equivalents of the English saying “Pigs may fly”, meaning something will never happen, or “you’re being unrealistic” (Source):<br /> – Thai: ชาติหน้าตอนบ่าย ๆ – literally, ‘One afternoon in your next reincarnation’<br /> – French: Quand les poules auront des dents – literally, ‘When hens have teeth’<br /> – Russian, Когда рак на горе свистнет – literally, ‘When a lobster whistles on top of a mountain’<br /> – Dutch, Als de koeien op het ijs dansen – literally, ‘When the cows dance on the ice’<br /> – Chinese: 除非太陽從西邊出來！– literally, ‘Only if the sun rises in the west’<br /> <br /> 50. Adaptation<br /> What is it?<br /> A translation that substitutes a culturally-specific reference with something that’s more relevant or meaningful in the target language.<br /> <br /> It’s also known as cultural substitution or cultural equivalence.<br /> <br /> It’s a useful technique when a reference wouldn’t be understood at all, or the associated nuances or connotations would be lost in the target language.<br /> <br /> Note: the translation method of the same name is a similar concept but applied to the text as a whole.<br /> <br /> Examples<br /> Different cultures celebrate different coming of age birthdays – 21 in many cultures, 20, 15 or 16 in others. A translator might consider changing the age to the target culture custom where the coming of age implications were important in the original text.<br /> Animals have different connotations across languages and cultures. Owls for example are associated with wisdom in English, but are a bad omen to Vietnamese. A translator might want to remove or amend an animal reference where this would create a different image in the target language.<br /> <br /> 51. Compensation<br /> What is it?<br /> A meaning or nuance that can’t be directly translated is expressed in another way in the text.<br /> Example<br /> Many languages have ways of expressing social status (honorifics) encoded into their grammatical structures.<br /> <br /> So you can convey different levels of respect, politeness, humility, etc simply by choosing different forms of words or grammatical elements.<br /> But these nuances will be lost when translating into languages that don’t have these structures.<br /> Then translating into languages that don’t have these structures<br /> Then translating into languages that don’t have these structures.<br /> <br /> ===Conclusion ===<br /> <br /> In the light of above mentioned facts and figures here by we would say that machine translation is challenge for human translators because it can reduces the wokload of translation but can't give accurate and exact translation of the traget language.It can be less reliable than human translation..</div>

Wu Yinghong https://bou.de/u/index.php?title=20211215_homework&diff=131393 2021-12-13T01:14:02Z

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

Wu Yinghong https://bou.de/u/index.php?title=20211215_homework&diff=131392 2021-12-13T01:13:26Z

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

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=130294 2021-12-08T15:55:40Z

<p>Wu Yinghong: </p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]川端康成.『雪国』Snow Country.岩波書店、1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学,2013.<br /> <br /> [4]王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学,2018.<br /> <br /> [5]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设,2016(36):82-83.<br /> <br /> [6]刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学,2018(36):231.<br /> <br /> [8]时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学,2016.<br /> <br /> [9]林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=130293 2021-12-08T15:55:04Z

<p>Wu Yinghong: </p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]川端康成.『雪国』Snow Country.岩波書店、1952年.<br /> <br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> <br /> [3]南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学,2013.<br /> <br /> [4]王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学,2018.<br /> <br /> [5]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设,2016(36):82-83.<br /> <br /> [6]刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> <br /> [7]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学,2018(36):231.<br /> <br /> [8]时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学,2016.<br /> <br /> [1]林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=130292 2021-12-08T15:54:14Z

<p>Wu Yinghong: </p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> '''从翻译美学的角度对《雪国》中文版的审美再现进行比较研究'''<br /> [[Aesth_App_EN_4]]<br /> <br /> 吴映红 Wu Yinghong,Hunan Normal University,China<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]川端康成.『雪国』Snow Country.岩波書店、1952年.<br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3]南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学,2013.<br /> [4]王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &quot;Snow Country[D].上海交通大学,2018.<br /> [5]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设,2016(36):82-83.<br /> [6]刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> [7]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学,2018(36):231.<br /> [8]时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学,2016.<br /> [1]林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛,2015(02):74-83.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129650 2021-12-07T15:00:38Z

<p>Wu Yinghong: /* 3.2The aesthetic value of The Land of Snow */</p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> [[Aesth_App_EN_4]]<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> In &quot;Snow Country&quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &quot;Snow Country&quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]川端康成 『雪国』、岩波書店、1952年.<br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3]Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4]南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.<br /> [5]王笑阳. 《雪国》研究的中日比较[D].上海交通大学,2018.<br /> [6]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例[J].语文建设,2016(36):82-83.<br /> [7]刘晓颖.日本文学中的异文化翻译方式探析[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> [8]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例[J].北方文学,2018(36):231.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129646 2021-12-07T14:53:35Z

<p>Wu Yinghong: </p> <hr /> <div>'''4吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics'''<br /> [[Aesth_App_EN_4]]<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===题目===<br /> 从翻译美学的角度对《雪国》的审美再现进行比较研究<br /> <br /> ===摘要===<br /> 《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。<br /> <br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &quot;mourning&quot;. The term &quot;mourning&quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &quot;mourning&quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &quot;mourning&quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &quot;mourning&quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &quot;mourning&quot; in the process of translation and make the readers feel the same way.<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.<br /> 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。<br /> 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。<br /> 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。<br /> 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。<br /> 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。<br /> &quot;くっと&quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.<br /> For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &quot;suddenly bent&quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &quot;curling up&quot; and consider that translating the word &quot;くっと&quot; as it is would overlap semantically with the word &quot;身をすくめる&quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &quot;suddenly curling up&quot; with &quot;making a strong effort to curl up&quot;. The Korean translation replaces the word &quot;suddenly curled up&quot; with &quot;hunched up&quot;, while the Lin translation simply omits the word and says &quot;curled up&quot;. These translations are precisely communicative translations adapted to Chinese expression habits.<br /> <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.<br /> 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。<br /> 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。<br /> In Japanese vocabulary, &quot;onomatopoeic words&quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &quot;Snow Country&quot;, which has a strong sense of image, is difficult because of the mimetic word &quot;Gosho&quot;. Ye Weiqu translates it as &quot;Kirikou&quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &quot;ごそごそ&quot; is explained in the &quot;Dictionary of Chinese Language&quot; as &quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&quot;, which means The word &quot;ごそごそ&quot; means both sound and action, and Ye Weiqu's translation is the best. The word &quot;叽里哐当&quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined<br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &quot;material mourning&quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.<br /> <br /> ===5.References===<br /> [1]川端康成 『雪国』、岩波書店、1952年.<br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3]Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4]南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.<br /> [5]王笑阳. 《雪国》研究的中日比较[D].上海交通大学,2018.<br /> [6]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例[J].语文建设,2016(36):82-83.<br /> [7]刘晓颖.日本文学中的异文化翻译方式探析[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> [8]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例[J].北方文学,2018(36):231.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129614 2021-12-07T13:35:06Z

<p>Wu Yinghong: </p> <hr /> <div>=吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> <br /> ===题目===<br /> <br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> ===1.Inteoduction===<br /> ==1.1Background of the study==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> ==2.1Aesthetic origins of translation==<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> <br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> <br /> ===5.References===<br /> [1]川端康成 『雪国』、岩波書店、1952年.<br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3]Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4]南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.<br /> [5]王笑阳. 《雪国》研究的中日比较[D].上海交通大学,2018.<br /> [6]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例[J].语文建设,2016(36):82-83.<br /> [7]刘晓颖.日本文学中的异文化翻译方式探析[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> [8]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例[J].北方文学,2018(36):231.</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129613 2021-12-07T13:33:27Z

<p>Wu Yinghong: </p> <hr /> <div>=吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> <br /> ===题目===<br /> <br /> ===Abstract===<br /> <br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> <br /> ===1.Inteoduction===<br /> <br /> ==1.1Background of the study==<br /> <br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.2Purpose and significance of the study==<br /> <br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ==1.3Prior Research==<br /> <br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ==1.4Research Methodology==<br /> <br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===2.on the aesthetics of translation===<br /> <br /> ==2.1Aesthetic origins of translation==<br /> <br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ==2.2Definition of Aesthetics of Translation==<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ==2.3Aesthetic Theory of Translation==<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===3 The Land of Snow and its Chinese translation===<br /> <br /> ==3.1Yasunari Kawabata and The Land of Snow==<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> <br /> ==3.2The aesthetic value of The Land of Snow==<br /> <br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ==3.3The Chinese translation of The Land of Snow==<br /> <br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> <br /> <br /> ===4.Conclusion===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> <br /> ===5.References===<br /> [1]川端康成 『雪国』、岩波書店、1952年.<br /> [2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3]Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4]南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.<br /> [5]王笑阳. 《雪国》研究的中日比较[D].上海交通大学,2018.<br /> [6]韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例[J].语文建设,2016(36):82-83.<br /> [7]刘晓颖.日本文学中的异文化翻译方式探析[J].科教文汇(上旬刊),2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.<br /> [8]王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例[J].北方文学,2018(36):231.</div>

Wu Yinghong https://bou.de/u/index.php?title=Machine_Trans_EN_2&diff=129611 2021-12-07T13:23:17Z

<p>Wu Yinghong: </p> <hr /> <div>'''Machine Translation - A challenge or a chance for human translators?'''<br /> <br /> [[Machine_translation|Overview Page of Machine Translation]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Machine_Trans_EN_1]] [[Machine_Trans_EN_2]] [[Machine_Trans_EN_3]] [[Machine_Trans_EN_4]] [[Machine_Trans_EN_5]] [[Machine_Trans_EN_6]] [[Machine_Trans_EN_7]] [[Machine_Trans_EN_8]] [[Machine_Trans_EN_9]] [[Machine_Trans_EN_10]] [[Machine_Trans_EN_11]] [[Machine_Trans_EN_12]] [[Machine_Trans_EN_13]] [[Machine_Trans_EN_14]] [[Machine_Trans_EN_15]] [[Machine_Trans_EN_16]] [[Machine_Trans_EN_17]] [[Machine_Trans_EN_18]] [[Machine_Trans_EN_19]] [[Machine_Trans_EN_20]] [[Machine_Trans_EN_21]] [[Machine_Trans_EN_22]] [[Machine_Trans_EN_23]] [[Machine_Trans_EN_24]] [[Machine_Trans_EN_25]] [[Machine_Trans_EN_26]] [[Machine_Trans_EN_27]] [[Machine_Trans_EN_28]] [[Machine_Trans_EN_29]] [[Machine_Trans_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129608 2021-12-07T13:16:37Z

<p>Wu Yinghong: </p> <hr /> <div>=吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> ===Abstract===<br /> <br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> <br /> <br /> ===Chapter 1 Inteoduction===<br /> <br /> === Background of the study===<br /> <br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> === Purpose and significance of the study===<br /> <br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ===Prior Research===<br /> <br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ===Research Methodology=== <br /> <br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===Chapter 2 on the aesthetics of translation===<br /> <br /> === Aesthetic origins of translation===<br /> <br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> === Definition of Aesthetics of Translation===<br /> <br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> === Aesthetic Theory of Translation===<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> <br /> ===Chapter 3 The Land of Snow and its Chinese translation===<br /> <br /> === Yasunari Kawabata and The Land of Snow===<br /> <br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> <br /> === The aesthetic value of The Land of Snow===<br /> <br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> === The Chinese translation of The Land of Snow===<br /> <br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> <br /> <br /> ===Summary===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> <br /> ===Reference===<br /> [1] 川端康成 『雪国』、岩波書店、1952年.<br /> [2] Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3] Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4] アーネスト，ヘミングウェイ 『老人と海』（福田恒在訳）、新潮社、1966.<br /> [5] 森田良行 『話者の視点がつくる日本語』 ひつじ書房、2006年<br /> [6] 籾山洋介・深田智 「意味の拡張」 松本曜編著『認知意味論』 大修館書店<br /> [7] 深田智・仲本康一郎 『概念化と意味の世界』 研究社、2008年<br /> [8] 本多啓 『アフォーダンスの認知意味論』、東京大学出版会、2005年<br /> [9] 西口純代 「物語文の現在時制における視点と文脈の変化」 河上誓作・谷口一美共編『ことばと視点』、英宝社、2007年<br /> [10] ベルク，オギュスタン 『空間の日本文化』（宮原信訳、ちくま学芸文庫）、筑摩書房、1994年</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129507 2021-12-06T15:56:23Z

<p>Wu Yinghong: /* 吴映红：Appreciation of poetry translation in the cross-culture background */</p> <hr /> <div>=吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> ===Abstract===<br /> Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.<br /> ===Key words===<br /> Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation<br /> ===Chapter 1 Inteoduction===<br /> ===1.1 Background of the study===<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ===1.2 Purpose and significance of the study===<br /> Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &quot;Snow Country&quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.<br /> <br /> <br /> ===1.3 Prior Research===<br /> Kawabata Yasunari's &quot;Snow Country&quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &quot;Snow Country,&quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.<br /> <br /> <br /> ===1.4 Research Methodology=== <br /> Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).<br /> <br /> ===Chapter 2 on the aesthetics of translation===<br /> ===2.1 Aesthetic origins of translation===<br /> Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.<br /> <br /> <br /> ===2.2 Definition of Aesthetics of Translation===<br /> In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.<br /> <br /> ===2.3 Aesthetic Theory of Translation===<br /> In aesthetics, the &quot;aesthetic subject&quot; refers to the aesthetic person, while the &quot;aesthetic body&quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.<br /> <br /> According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &quot;emotion&quot;, &quot;knowledge&quot;, &quot;o&quot; and &quot;will&quot;. The so-called &quot;emotion&quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &quot;Knowledge&quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &quot;knowledge&quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &quot;Talent&quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &quot;will&quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.<br /> ===Chapter 3 The Land of Snow and its Chinese translation===<br /> ===3.1 Yasunari Kawabata and The Land of Snow===<br /> Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &quot;No Generation,&quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.<br /> The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &quot;Eastern-style&quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &quot;New Sensation Movement&quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &quot;tried to deny it and exclude it. &quot; However, in his middle age, Kawabata found that he &quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.<br /> Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&quot; &quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. <br /> &quot;This idea of emptiness of Yasunari Kawabata, who &quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. <br /> <br /> ===3.2 The aesthetic value of The Land of Snow===<br /> Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.<br /> Although the storyline of &quot;Snow Country&quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.<br /> <br /> Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.<br /> <br /> ===3.3 The Chinese translation of The Land of Snow===<br /> Yasunari Kawa's masterpiece &quot;Snow Country&quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.<br /> In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.<br /> When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.<br /> &quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&quot;<br /> Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.<br /> The subject &quot;THE TRAIN&quot; appears in the first sentence of the English translation, but there is no subject corresponding to &quot;TRAIN&quot; in the Japanese original. In the first sentence of the English translation, the subject &quot;the train&quot; appears.<br /> In the original Japanese work, there is no subject corresponding to &quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &quot;went through&quot; and &quot;entered&quot;, but instead, the first and second sentences are set as &quot;When it exited, it was ......&quot;. In the original story, there are no such expressions as &quot;skillfully&quot; and &quot;entered,&quot; but instead, the preamble and postamble are set to &quot;exited and .......&quot; In essence, &quot;exited and ......&quot; and &quot;exited and ......&quot; are completely different narratives, and represent completely different cognitive systems.<br /> <br /> <br /> <br /> ===Summary===<br /> Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.<br /> The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.<br /> <br /> <br /> <br /> ===Reference===<br /> [1] 川端康成 『雪国』、岩波書店、1952年.<br /> [2] Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.<br /> [3] Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991.<br /> [4] アーネスト，ヘミングウェイ 『老人と海』（福田恒在訳）、新潮社、1966.<br /> [5] 森田良行 『話者の視点がつくる日本語』 ひつじ書房、2006年<br /> [6] 籾山洋介・深田智 「意味の拡張」 松本曜編著『認知意味論』 大修館書店<br /> [7] 深田智・仲本康一郎 『概念化と意味の世界』 研究社、2008年<br /> [8] 本多啓 『アフォーダンスの認知意味論』、東京大学出版会、2005年<br /> [9] 西口純代 「物語文の現在時制における視点と文脈の変化」 河上誓作・谷口一美共編『ことばと視点』、英宝社、2007年<br /> [10] ベルク，オギュスタン 『空間の日本文化』（宮原信訳、ちくま学芸文庫）、筑摩書房、1994年</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&diff=129472 2021-12-06T13:38:55Z

<p>Wu Yinghong: </p> <hr /> <div>'''Aesthetic Appreciation of Literary Translations'''<br /> <br /> [[Aesthetic Appreciation of Literary Translations|Overview Page of Aesthetic Appreciation of Literary Translations]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Aesth_App_EN_1]] [[Aesth_App_EN_2]] [[Aesth_App_EN_3]] [[Aesth_App_EN_4]] [[Aesth_App_EN_5]] [[Aesth_App_EN_6]] [[Aesth_App_EN_7]] [[Aesth_App_EN_8]] [[Aesth_App_EN_9]] [[Aesth_App_EN_10]] [[Aesth_App_EN_11]] [[Aesth_App_EN_12]] [[Aesth_App_EN_13]] [[Aesth_App_EN_14]] [[Aesth_App_EN_15]] [[Aesth_App_EN_16]] [[Aesth_App_EN_17]] [[Aesth_App_EN_18]] [[Aesth_App_EN_19]] [[Aesth_App_EN_20]] [[Aesth_App_EN_21]] [[Aesth_App_EN_22]] [[Aesth_App_EN_23]] [[Aesth_App_EN_24]] [[Aesth_App_EN_25]] [[Aesth_App_EN_26]] [[Aesth_App_EN_27]] [[Aesth_App_EN_28]] [[Aesth_App_EN_29]] [[Aesth_App_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> =1朱素珍：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_1]]<br /> <br /> <br /> ===Abstract===<br /> It is such a thoughtful question that how to translate poetry in the cross-culture background. It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. A professional translator has the responsibility to achieve the effects of three principles put forward by Yan Fu: faithfulness, expressiveness and elegance which are one of the important criteria for translation. This essay would mainly discuss the appreciation of poetry translation based on the three principles as discussed before with the analysis of different versions of translation of the same poetry. After the comparable analysis of these versions, whether the translators have obeyed the three principles as well as whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive. <br /> <br /> ===Key words===<br /> poetry translation; cross-culture background; Yan Fu’s three principles of faithfulness, expressiveness and elegance<br /> <br /> ===Introduction===<br /> Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. According to Aristotle, literature should have the function of education, that is to say, instructing people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the difference, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.<br /> <br /> ===Comparative analysis of different version of translation of poetry===<br /> In this part, it is necessary to make some comparative analysis between different versions of translation. As we all known, translation is also a process in which the translators try to create and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. <br /> It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one. <br /> <br /> =邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =<br /> <br /> [[Aesth_App_EN_3]]<br /> <br /> <br /> =吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =<br /> [[Aesth_App_EN_4]]<br /> <br /> <br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&diff=129471 2021-12-06T13:38:24Z

<p>Wu Yinghong: </p> <hr /> <div>'''Aesthetic Appreciation of Literary Translations'''<br /> <br /> [[Aesthetic Appreciation of Literary Translations|Overview Page of Aesthetic Appreciation of Literary Translations]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Aesth_App_EN_1]] [[Aesth_App_EN_2]] [[Aesth_App_EN_3]] [[Aesth_App_EN_4]] [[Aesth_App_EN_5]] [[Aesth_App_EN_6]] [[Aesth_App_EN_7]] [[Aesth_App_EN_8]] [[Aesth_App_EN_9]] [[Aesth_App_EN_10]] [[Aesth_App_EN_11]] [[Aesth_App_EN_12]] [[Aesth_App_EN_13]] [[Aesth_App_EN_14]] [[Aesth_App_EN_15]] [[Aesth_App_EN_16]] [[Aesth_App_EN_17]] [[Aesth_App_EN_18]] [[Aesth_App_EN_19]] [[Aesth_App_EN_20]] [[Aesth_App_EN_21]] [[Aesth_App_EN_22]] [[Aesth_App_EN_23]] [[Aesth_App_EN_24]] [[Aesth_App_EN_25]] [[Aesth_App_EN_26]] [[Aesth_App_EN_27]] [[Aesth_App_EN_28]] [[Aesth_App_EN_29]] [[Aesth_App_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> =1朱素珍：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_1]]<br /> <br /> <br /> ===Abstract===<br /> It is such a thoughtful question that how to translate poetry in the cross-culture background. It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. A professional translator has the responsibility to achieve the effects of three principles put forward by Yan Fu: faithfulness, expressiveness and elegance which are one of the important criteria for translation. This essay would mainly discuss the appreciation of poetry translation based on the three principles as discussed before with the analysis of different versions of translation of the same poetry. After the comparable analysis of these versions, whether the translators have obeyed the three principles as well as whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive. <br /> <br /> ===Key words===<br /> poetry translation; cross-culture background; Yan Fu’s three principles of faithfulness, expressiveness and elegance<br /> <br /> ===Introduction===<br /> Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. According to Aristotle, literature should have the function of education, that is to say, instructing people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the difference, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.<br /> <br /> ===Comparative analysis of different version of translation of poetry===<br /> In this part, it is necessary to make some comparative analysis between different versions of translation. As we all known, translation is also a process in which the translators try to create and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. <br /> It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one. <br /> <br /> =邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =<br /> <br /> [[Aesth_App_EN_3]]<br /> <br /> <br /> =吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =<br /> [[Aesth_App_EN_4]]<br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&diff=129469 2021-12-06T13:36:02Z

<p>Wu Yinghong: </p> <hr /> <div>'''Aesthetic Appreciation of Literary Translations'''<br /> <br /> [[Aesthetic Appreciation of Literary Translations|Overview Page of Aesthetic Appreciation of Literary Translations]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Aesth_App_EN_1]] [[Aesth_App_EN_2]] [[Aesth_App_EN_3]] [[Aesth_App_EN_4]] [[Aesth_App_EN_5]] [[Aesth_App_EN_6]] [[Aesth_App_EN_7]] [[Aesth_App_EN_8]] [[Aesth_App_EN_9]] [[Aesth_App_EN_10]] [[Aesth_App_EN_11]] [[Aesth_App_EN_12]] [[Aesth_App_EN_13]] [[Aesth_App_EN_14]] [[Aesth_App_EN_15]] [[Aesth_App_EN_16]] [[Aesth_App_EN_17]] [[Aesth_App_EN_18]] [[Aesth_App_EN_19]] [[Aesth_App_EN_20]] [[Aesth_App_EN_21]] [[Aesth_App_EN_22]] [[Aesth_App_EN_23]] [[Aesth_App_EN_24]] [[Aesth_App_EN_25]] [[Aesth_App_EN_26]] [[Aesth_App_EN_27]] [[Aesth_App_EN_28]] [[Aesth_App_EN_29]] [[Aesth_App_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> =1朱素珍：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_1]]<br /> <br /> <br /> ===Abstract===<br /> It is such a thoughtful question that how to translate poetry in the cross-culture background. It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. A professional translator has the responsibility to achieve the effects of three principles put forward by Yan Fu: faithfulness, expressiveness and elegance which are one of the important criteria for translation. This essay would mainly discuss the appreciation of poetry translation based on the three principles as discussed before with the analysis of different versions of translation of the same poetry. After the comparable analysis of these versions, whether the translators have obeyed the three principles as well as whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive. <br /> <br /> ===Key words===<br /> poetry translation; cross-culture background; Yan Fu’s three principles of faithfulness, expressiveness and elegance<br /> <br /> ===Introduction===<br /> Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. According to Aristotle, literature should have the function of education, that is to say, instructing people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the difference, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting. Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.<br /> <br /> ===Comparative analysis of different version of translation of poetry===<br /> In this part, it is necessary to make some comparative analysis between different versions of translation. As we all known, translation is also a process in which the translators try to create and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. <br /> It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one. <br /> <br /> =邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =<br /> <br /> [[Aesth_App_EN_3]]<br /> <br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]<br /> =吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =<br /> [[Aesth_App_EN_4]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129464 2021-12-06T13:32:47Z

<p>Wu Yinghong: /* 4吴映红：Appreciation of poetry translation in the cross-culture background */</p> <hr /> <div>=吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> <br /> ===Introduction===<br /> <br /> ===Key words===<br /> <br /> <br /> ===Introduction===</div>

Wu Yinghong https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=129462 2021-12-06T13:31:21Z

<p>Wu Yinghong: /* Final exam class projects */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|This course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] [[20220112_final_exam|final exam page]]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is mostly welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Session 1 Sep 26, 2021=<br /> Today is international day of languages!<br /> <br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> ==Organizational Things==<br /> *Please register for the Course Wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. If the name is taken, write &quot;Wang Jianguo1&quot;. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TransStud and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> *In the WeChat group, please write your name as &quot;Wang Jianguo 王建国 21级 英语口译&quot;. If possible, please use a profile photo of yourself where you can be recognized. 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、21级、方向）就好。<br /> *We meet Wednesdays 7 pm - 8:40 pm online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). Please leave your camera ON, so that we actually see each other. In the classroom, we also see each other.<br /> *Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> * Please take the weekly survey http://bit.ly/EU-SURVEY<br /> * Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.<br /> <br /> ==Edits==<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation of your fellow student beneath.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> * Prepare the final exam paper as early as possible by writing a chapter for a book on &quot;History of Translations&quot;, &quot;History of Translation Theories&quot;, &quot;Machine translation - A challenge or a chance for human translators?&quot;, &quot;Culture loaded words&quot;, &quot;The cultural turn in Translation History&quot;, &quot;Appropriateness Theory&quot; ... For this, please organize yourself, find groups who want to write the same book together, and think together about the necessary chapters and the structure etc. of the book. The paper needs to be delivered until November 1. Then we jointly work on copy editing, grading etc.<br /> * The Teaching Assistants should write the grades every week in a table, so that you can see the results of your quizzes/surveys etc., your performance in class and final exam paper grades.<br /> <br /> ==Topics, Sessions and Material==<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.<br /> <br /> 1 Sep 26 Introduction <br /> <br /> 2 Sep 29 Emergence I<br /> *Teacher presentation<br /> <br /> 3 Oct 13 Emergence II<br /> *3a Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社2009:195 pp., here 180-192.<br /> *3b=7c Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017, here the beginning about the emergence<br /> <br /> 4 Oct 20 History of Translation <br /> *4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *4b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> <br /> 5 Oct 27 Early understanding<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> <br /> *5a Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *5b Sourcebook Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.<br /> *5c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *5d Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 6 Nov 3 Linguistics and Equivalence (Nida)<br /> *6a Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *6b Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 7 Nov 10 Translation Studies<br /> *7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> *7b Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *7c=3b Tan Zaixi 谭载喜. Translation Studies 翻译学[M]. 武汉：湖北教育出版社，2000年. (the 2nd part contains a lot of English papers)<br /> *7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002<br /> <br /> 8 Nov 17 Translation Theories<br /> *8a Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *8c Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> *8d Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *8e Pan_Wenguo_Cont_West_Trans_Stud_当代西方的翻译学研究_兼谈_翻译学的学科性问题_潘文国<br /> <br /> 9 Nov 24 History of Chinese Translation Theories<br /> *9a 陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> *9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> <br /> 10 Dec 1 Appropriateness Theory<br /> *10a Moratto, Woesler: Current Dynamics, Springer 2021<br /> <br /> 11 Dec 8 Methods and Style<br /> *11a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *11b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *11c Trans_Stud_Problems_and_Methods_翻译学问题与方法<br /> <br /> 12 Dec 15 Theory and Practice <br /> *12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *12b Theory and Practice Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *12c Theory and Practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> <br /> 13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> *13a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *13b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *13c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *13d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> *13e Art or Science? Different papers by Huang Zhending Trans_Stud_Art_and_Scient_Theory_翻译学艺术论与科学论的统一<br /> <br /> 14 Dec 29 East-West Comparison<br /> *14a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *14b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> 15 Jan 5 Review in Preparation of final exam<br /> <br /> 16 Jan 12 Final Exam<br /> <br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Final exam class projects==<br /> <br /> Please help to edit one of the following book publications (please write your name behind the topics and organize the book with a proposal for the press and a chapter in the form of a journal paper by each participant):<br /> *[[History of Translation Studies]] (Sample from last year.)<br /> *[[History of Translations]] <br /> 刘胜楠 (western translation history in the Middle Age) 李习长 (History of Modern and Contemporary Chinese Translation) 黄柱梁（The Translation of Buddihist Sutra in China） 王镇隆 叶维杰 李雯( The Translation theory after the establishment of the People's Republic of China)李怡(Modern Western Translation History) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Contemporary American Translation History) 周俊辉 周玖 钟雨露 钟义菲 魏楚璇(western translation history in the modern and contemporary Age)<br /> *[[History of Translation Theories]] 李瑞洋（Development of Translation Theories in Modern China）、陈心怡 张扬、曾俊霖 张怡然(History of Translation Theories from early Russia to the Soviet Union) 尹媛（The Brief Introduction of American structural school of translation theory) 李双 杨堃 刘运心 魏兆妍(The Development of Humanism Trend in Western Translation Theory) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江<br /> *[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯 肖毅瑶 王李菲 徐敏赟 颜莉莉 颜静 谢佳芬 熊敏 陈惠妮 蔡珠凤 陈湘琼 Nadia<br /> *[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳、罗曦（The translation methods of culture loaded words） 何芩、孙雅诗、杜莉娜（跨文化交际视角下旅游文本中文化负载词的英汉翻译研究）、宫博雅（俄语成语中文化负载词的中文翻译分析）、周小雪(《药》英日译本中文化负载词的翻译对比研究）、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看许渊冲版《鹊桥仙》中文化负载词的翻译)、高蜜、殷慧珍、程杨、胡舒情<br /> *[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍<br /> *[[Appropriateness Theory]] - Ei Mon Kyaw (Creating Appropriateness Theory). I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!Ei Mon Kyaw (Creating Appropriateness Theory). 殷美达 易扬帆（Appropriateness in Lyrics Translation -- A Case Study of Lana Del Rey's Lyrics Translation in QQ Music）<br /> *[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译技巧的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越 毛雅文 毛优（俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例 彭瑞雪 秦建安（功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例） 颜子涵 邝艳丽 阳佳颖 杨柳青<br /> *[[Aesthetic Appreciation of Literary Translations]] 朱素珍 邹岳丽 邱婷婷(Three beauties embodied in Xu Yuanchong's English translation of ''Tang Poetry'') 吴映红(A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics)<br /> *[[Translation Theories Apllied to Literary Translations]] 周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &quot;Jane Eyre&quot; from the Perspective of Functional Equivalence Theory）<br /> *[[Comparative Studies in Translation]] 石丽青 牟一心 饶金盈 罗安怡 马新 王逸凡 张秋怡 朱壬铎<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Schedule==<br /> Please add your name, presentation form (ppt, handout) and subtopic here.<br /> <br /> '''All sessions''': <br /> *1 Sep 26 Introduction<br /> *2 Sep 29 Emergence I<br /> *3 Oct 13 Emergence II <br /> (中国翻译的起源 The Emergence of Translation Studies in China) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. <br /> (机器翻译的起源与发展 The Origin of Machine Translation) ppt by Yan Jing 颜静 and handout by Xu Minyun 徐敏赟.<br /> <br /> *4 Oct 20 History of Translation <br /> (中国翻译简史 The Brief History of Chinese Translation) ppt by Hu Shuqing 胡舒情 and handout by Gong Boya 宫博雅. <br /> (西方翻译简史 The Brief History of Western Translation) ppt by Ding Xuan 丁旋 and handout by Fu Shiyu 付诗雨.<br /> (中国译场中佛经翻译的历史 The History of Buddhist Scripture Translation in Chinese Translation Center) PPT by Ye Weijie 叶维杰 and handout by Wang Zhenlong 王镇隆. <br /> (中国诗歌翻译简史 A Brief History of Chinese Poetry Translation) ppt by Rao Jinying 饶金盈 202120081520 and handout by Mou Yixin 牟一心.<br /> (2000年以来的大中华文库翻译历史 The Translation History of Library of Chinese Classics Since 2000) ppt by Zhang Yang 张扬 and handout by Zeng Junlin曾俊霖.<br /> <br /> *5 Oct 27 Early understanding <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> (佛经翻译的文质之争 The Debates Between Wen and Zhi on Buddhist Scriptures Translation) ppt by He Qin 何芩 202120081489 and handout by Gao Mi高蜜.<br /> (林语堂的翻译 Translation by Lin Yutang) ppt by Xie Jiafen 谢佳芬 and handout by Yan Lili 颜莉莉.<br /> <br /> *6 Nov 3 Linguistics and Equivalence (Nida) &lt;span style=&quot;color:red&quot;&gt;<br /> (J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.<br /> (Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.<br /> (The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.<br /> (Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.<br /> <br /> *6 Nov 10 Translation Studies<br /> (Newmark)ppt by 李姗 and hanout by 李文璇.<br /> (The name and nature of translation studies) ppt by 刘胜楠 and handout by 李怡.<br /> (Jakobson's translation theory) ppt by 熊敏 and handout by 孙雅诗<br /> () ppt by 肖毅瑶 and handout by 吴映红.<br /> (On Lin Yutang's Translation Aesthetics) ppt by 罗安怡 and handout by 石丽青<br /> () ppt by Mahzad Heydarian and hangdout by Mahzad Heydarian.<br /> <br /> *8 Nov 17 Translation Theories <br /> (Translation Theories of Peter Newmark)ppt by 刘晓 and handout by 刘越<br /> (Translation Theories of George Steiner)ppt by 杨柳青 and handout by 殷慧珍<br /> (严复翻译理论 Translation Theories of YanFu) ppt by王李菲 and handout by 魏楚璇.<br /> (The functional translation theory of Reiss and Vermeer)ppt by 彭瑞雪 and handout by 秦建安.<br /> (Traslation Theoires of Xuyuanchong) ppt by 周清 and handout by 邹岳丽.<br /> <br /> *9 Nov 24 History of Chinese Translation Theories <br /> (中国清代翻译理论史History of Chinese translation theories of Qing Dynasty)ppt by Cheng Yang 程杨 handout by Li Shuang 李双<br /> (Theories after 1912) ppt by 邱婷婷 handout by 卫怡雯<br /> (theory of modern China)ppt by 杨爱江 handout by 杨堃<br /> (五四运动时期的翻译理论The Translation Theories During the Period of the May Fourth Movement)ppt by 李雯 handout by 周小雪<br /> <br /> *10 Dec 1 Appropriateness Theory - this is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> *11 Dec 8 Methods and Style<br /> (增译与减译Addition and Omission) ppt by 周玖 and handout by 周俊辉<br /> (Translation of idoms) ppt by刘运心 and handout by李瑞洋<br /> ()ppt by李爱璇 and handout by金晓童<br /> (翻译方法：直译与意译Translation methods---literal translation and free translation) ppt by 钟义菲 and handout by钟雨露<br /> (翻译方法：异化和归化Translation methods: Foreignization and Domestication)ppt by 陈心怡 and handout by陈静<br /> <br /> *12 Dec 15 Theory and Practice. <br /> (The value and limits of Nida's Functional Equivalence Theory in its Application of Literature) ppt by 詹若萱 and handout by 罗曦<br /> (Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by 朱素珍<br /> (An Analysis of Different Versions on the Basis of the Three Beauties of Xu Yuanchong) ppt by 邝艳丽 and handout by 付红岩<br /> (庞德的翻译理论及其在《华夏集》中的应用 Ezra Pound's translation theory and its application in Cathay) ppt by 张秋怡 and handout by 王逸凡<br /> () Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星<br /> <br /> *13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> () ppt by 殷美达 and handout by 张怡然<br /> <br /> *14 Dec 29 East-West Comparison<br /> ()ppt by刘薇 and handout by黄柱梁<br /> ()ppt by魏兆妍 and handout by 吴婧悦<br /> ()ppt by阳佳颖 and handout by 颜子涵<br /> ()ppt by毛雅文 and handout by 毛优<br /> *15 Jan 5 Review in Preparation of final exam<br /> *16 Jan 12 Final Exam<br /> <br /> == Homework from Session 1 Sep 26 due on Sep 29, 2021 ==<br /> <br /> 1. Take the survey after session 1: http://bit.ly/EU-SURVEY<br /> <br /> 2. Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2. (Will be added later.)<br /> <br /> 3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 4. Help a fellow student to improve his/her translation on that page. The final translation is once more worked over by the teacher, please check your own sentence [[20210929_homework|here]].<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 5. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;, ... It has to be a topic, not yet chosen by any other student in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> =Session 2, Sep 29: Emergence I=<br /> *Teacher presentation<br /> *Survey http://bit.ly/Eval-01<br /> *Please select a topic to do a ppt or handout on<br /> *Review homework<br /> *Prepare final exam<br /> <br /> ===Homework for this session Sep 29===<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 2 (Emergence I)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> ==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==<br /> *Teacher presentation: [[Media:Emergence_I.pptx|Teacher presentation on the Emergence of Translation]] by Martin Woesler --[[User:Root|Root]] ([[User talk:Root|talk]]) 11:44, 13 October 2021 (UTC)<br /> <br /> ==Homework for next session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. Please write your name behind one of the [[Introduction_to_Translation_Studies_2021#Final_exam_class_projects|book projects]] where you want to write a chapter as your final exam paper. Also indicate the topic of your chapter in this book project.<br /> <br /> 5. (Only for students who do presentation on Oct 13: Emergence II (中国新时期翻译研究发展的起源 The origin of translation studies in China in the new Era) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. (Emergence of Oral Interpretation) ppt by Shan Gongfei:) Prepare ppt or handout.(机器翻译的起源 The Origin of Machine Translation) handout by Xu Minyun 徐敏赟 202120081535 and powerpoint by Yan Jing 颜静 202120081536.<br /> <br /> =Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=<br /> ==Homework for this session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> ==Presentations in Session 3, Emergence of Translation II==<br /> <br /> *ppt: [[Media:03 Emergence of translations in China by Xie Qinglin.pptx|Presentation on Emergence of translation study in China 中国翻译的起源]] by Chen Xiangqiong 陈湘琼; handout [[Media:03_Xie_Qinglin_Emergence_of_translations_in_China.docx|Emergence of translation studies in China]] by Xie Qinglin 谢庆琳<br /> <br /> Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.<br /> <br /> *ppt: [[Media:The_Origin_of_Machine_Translation_by_Yan_Jing.pptx|Presentation on Origin of Machine Translation 机器翻译的起源与发展]] by Yan Jing 颜静; handout [[Media:The_Origin_of_Machine_Translation_by_Xu_Minyun.docx|Origin of Machine Translation handout]] by Xu Minyun 徐敏赟<br /> <br /> Tip: This topic is also very modern, it should be presented at the end of the semester.<br /> <br /> ==Homework for next session Oct 20==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> =Session 4, Oct 20, Topic 3=<br /> ==Homework for this session Oct 20==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 4<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.<br /> <br /> ==Presentations on History of Translation, session 4==<br /> * ppt: [[Media: The brief history of western translation_by_Ding_Xuan.pptx|Presentation on The brief history of western translation]] by Ding Xuan; handout [[Media:The brief history of Western translation.doc| The brief history of western translation]] by Fu Shiyu<br /> *ppt: [[Media: The brief history of Chinese translation.pptx|Presentation on The brief history of Chinese translation]] by Hu Shuqing; handout [[Media:The brief history of Chinese translation_by_Gong_Boya.doc| The brief history of Chinese translation]] by Gong Boya<br /> * ppt:[[Media: A brief history of Chinese poetry translation.pptx|Presentation on A brief history of Chinese poetry translation]] by Rao Jinying; handout: [[Media: A brief history of Chinese poetry translation.doc| A brief history of Chinese poetry translation]] by Mou Yixin<br /> * ppt:[[Media: The Translation history of Library of Chinese Classics Since 2000.pptx|Presentation on The Translation history of Library of Chinese Classics Since 2000]] by Zhang Yang; handout: [[Media: The Translation history of Library of Chinese Classics Since 2000_by_Zeng_Junlin.doc| The Translation history of Library of Chinese Classics]] by Zeng Junlin<br /> * ppt:[[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.pptx|Presentation on The History of Buddhist Scripture Translation in Chinese Translation Center]] by Ye Weijie; handout: [[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.docx| The History of Buddhist Scripture Translation in Chinese Translation Center]] by Wang Zhenlong<br /> <br /> ==Homework for next session Oct 27==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> =Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=<br /> ==Homework for this session Oct 27==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> ==Presentations Oct 27 on Early Understanding==<br /> <br /> * Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions about principles, strategies etc.<br /> <br /> * ppt: [[Media: Tranlation by Lin Yutang.pptx|Translation by Lin Yutang]] by Xie Jiafen; handout [[Media: Tranlation by Lin Yutang(handout).docx| Translation by Lin Yutang(handout)]] by Yan Lili<br /> * ppt: [[Media: The Debates Between Wen and Zhi on Buddhist Scriptures Translation.pptx|The Debates Between Wen and Zhi on Buddhist Scriptures Translation]] by He Qin; handout [[Media: The Wen-Zhi Debate in the history of sutra translation (handout).docx| The Wen-Zhi Debate in the History of Sutra Translation (handout)]] by Gao Mi<br /> <br /> ==Homework for next session 6, Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6, Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> <br /> =Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=<br /> ==Homework for this session Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6 Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 3 on Linguistics and Equivalence(Nida)==<br /> <br /> * ppt: [[Media:J.C.Catford's Translation Equivalence Theory(ppt).pptx|J.C.Catford's Translation Equivalence Theory(ppt)]] by Huang Yiyan; handout [[Media:Translation Equivalence Theory.docx|J.C.Catford's Translation Equivalence Theory]] by Huang Jinyun<br /> * ppt: [[Media:Two Types of Equivalence by Eugene A. Nida(ppt).pptx|Two Types of Equivalence by Eugene A. Nida(ppt)]] by Du Lina; handout [[Media: Two Types of Equivalence by Eugene A. Nida.docx|Two Types of Equivalence by Eugene A. Nida]] by Ma Xin<br /> * ppt: [[Media:The Three Essences of Functional Equivalence and Its Application.pptx|The Three Essences of Functional Equivalence and Its Application]] by Yi Yangfan; handout [[Media: The Three Essences of Functional Equivalence and Its Application.docx|The Three Essences of Functional Equivalence and Its Application]] by Yin Yuan<br /> * ppt: [[Media:Eugene Nida ‘s Principles of Correspondence Theory(ppt).pptx|Eugene Nida ‘s Principles of Correspondence Theory(ppt)]] by Chen Huini; handout [[Media:Eugene Nida ‘s Principles of Correspondence Theory.docx|Eugene Nida ‘s Principles of Correspondence Theory]] by Cai Zhufeng<br /> <br /> ==Homework for next session 7, Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7, Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.<br /> <br /> 5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!<br /> *[[20220112_final_exam|Final Exam paper page]]<br /> <br /> =Session 7, Nov 10, Topic 6 Translation Studies=<br /> ==Homework for this session Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7 Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 10 on Translation Studies==<br /> <br /> * ppt 1: [[Media:The Name and Nature of Translation Studies(ppt).pptx|The Name and Nature of Translation Studies(ppt)]] by Liu Shengnan; handout [[Media: The Name and Nature of Translation Studies.docx| The Name and Nature of Translation Studies]] by Li Yi<br /> <br /> * ppt 2: [[Media:Five Approaches to Translation.pptx|Five Approaches to Translation]] by Li Wenxuan; handout [[Media:Five Approaches to Translation(handout).docx|Five Approaches to Translation()]] by Li Shan<br /> <br /> * ppt 3: [[Media:Principles of Translation(ppt).pptx|Principles of Translation(ppt)]] by Xiao Yiyao; handout [[Media:Principles of Translation.docx|Principles of Translation]] by Wu Yinghong<br /> <br /> * ppt 4: [[Media:Cultural and Ideological Approaches in Translation(ppt).pptx|Cultural and Ideological Approaches in Translation]] by Mahzad Heydarian; handout [[Media:Cultural and Ideological Approaches in Translation.docx| Cultural and Ideological Approaches in Translation ]] by Mahzad Heydarian<br /> <br /> * ppt 5: [[Media:Roman Jacobson's Categories of Translation(ppt).pptx|Roman Jacobson's Categories of Translation(ppt)]] by Xiong Min; handout [[Media: Roman Jacobson's Categories of Translation.docx| Roman Jacobson's Categories of Translation]] by Sun Yashi<br /> <br /> * ppt 6: [[Media:Lin Yutang' s Translation Aesthetics(ppt).pptx|Lin Yutang' s Translation Aesthetics]] by Luo Anyi; handout [[Media:Lin Yutang' s Translation Aesthetics.docx| Lin Yutang' s Translation Aesthetics]] by Shi Liqing<br /> <br /> ==Homework for next session 8, Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 6 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> =Session 8, Nov 17, Translation Theories =<br /> ==Homework for this session Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 7 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 17 on Translation Theories==<br /> * ppt 1: [[Media:Translation Theories of George Steiner(ppt).pptx|Translation Theories of George Steiner(ppt)]] by Yang Liuqing 杨柳青; handout [[Media: Translation Theories of George Steiner.docx| Translation Theories of George Steiner]] by Yin Huizhen 殷慧珍<br /> * ppt 2: [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord(ppt).pptx|The Functional Translation Theory of Reiss, Vermeer and Nord(ppt)]] by Peng Ruixue 彭瑞雪; [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx|The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx]] by Qin Jianan 秦建安. <br /> * ppt 3: [[Media:Translation Theories of Peter Newmark.pptx|Translation Theories of Peter Newmark]] ppt by Liu Xiao 刘晓; [[Media:Translation Theories of Peter Newmark.docx|Translation Theories of Peter Newmark .docx]] handout by Liu Yue 刘越.<br /> <br /> * ppt 4:[[Media:Yan Fu's Translation Thoughts(ppt).pptx|Yan Fu's Translation Thoughts(ppt)]] by Wang Lifei 王李菲; handout [[Media: Yan Fu's Translation Thoughts.docx| Yan Fu's Translation Thoughts]] by Wei Chuxuan 魏楚璇<br /> * ppt 5: [[Media:Translation of Xu Yuanchong.pptx|Translation theorie of Xu Yuanchong]] ppt by Zhouqing周清; [[Media:Translation of Xu Yuanchong.docx|Translation theorie of Xu Yuanchong]]handout by Zou Yueli邹岳丽.<br /> <br /> ==Homework for next session 9, Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> =Session 9, Nov 24, History of Chinese Translation Theories =<br /> <br /> ==Homework for this session Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 24 on Chinese Translation Theories ==<br /> * ppt 1: [[Media:The History of Chinese Translation Theories in Qing Dynasty(ppt).pptx|The History of Chinese Translation Theories in Qing Dynasty(ppt)]]ppt by Cheng Yang 程杨 and [[Media: The History of Chinese Translation Theories in Qing Dynasty.docx| The History of Chinese Translation Theories in Qing Dynasty]]handout by Li Shuang 李双. <br /> * ppt 2: [[Media:The History of Chinese Buddhist Translation Theories(ppt).pptx|The History of Chinese Buddhist Translation Theories(ppt)]] by Qiu Tingting邱婷婷; handout [[Media: The History of Chinese Buddhist Translation Theories.docx| The History of Chinese Buddhist Translation Theories]] by Wei Yiwen 卫怡雯 <br /> * ppt 3: [[Media:The Chinese Translation Theories During the Period of the May Forth Movement(ppt).pptx|The Chinese Translation Theories During the Period of the May Forth Movement(ppt)]]by Li Wen 李雯; [[Media: The Chinese Translation Theories During the Period of the May Forth Movement.docx|The Chinese Translation Theories During the Period of the May Forth Movement]] handout by Zhou Xiaoxue 周小雪<br /> * ppt 4: [[Media: The History of Chinese Translation Theories from 1949 to Present(ppt).pptx|The History of Chinese Translation Theories from 1949 to Present(ppt)]]by Yang Aijiang 杨爱江 [[Media: The History of Chinese Translation Theories from 1949 to Present.docx|The History of Chinese Translation Theories from 1949 to Present]] handout by Yang Kun 杨堃<br /> <br /> ==Homework for next session 10, Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> =Session 10, Dec 1, Appropriateness Theory=<br /> This is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> ==Homework for this session Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 1==<br /> * handout 1: [[Media: Appropriateness Theory.docx| Appropriateness Theory]] by Ei Mon Kyaw 艾梦觉 <br /> * ppt 1: [[Media:Appropriateness Theory(ppt).pptx|Appropriateness Theory(ppt)]] by Yin Meida殷美达;<br /> <br /> ==Homework for next session 11, Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> =Session 11, Dec 8, Methods and Style=<br /> ==Homework for this session Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 8 on Methods and Style==<br /> <br /> * ppt 1: [[Media:The Literal Translation and Free Translation(ppt).pptx|The Literal Translation and Free Translation(ppt)]] by Zhong Yifei钟义菲; handout [[Media: The Literal Translation and Free Translation.docx| The Literal Translation and Free Translation]] by Zhong Yulu钟雨露.<br /> * ppt 1: [[Media:The Amplification and Omission in Translation(ppt).pptx|The Amplification and Omission in Translation(ppt)]] by Zhou Jiu周玖; handout [[Media: The Amplification and Omission in Translation.docx| The Amplification and Omission in Translation]] by Zhou Junhui周俊辉.<br /> * ppt 3: [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt).pptx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt)]] by Li Aixuan李爱璇；handout [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example.docx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example]] by Jing Xiaotong金晓童.<br /> * ppt 4: [[File:Translation Methods of Idioms.pptx|Translation Methods of Idioms(ppt)]] by Liu Yunxin 刘运心; handout [[File:Translation Methods of Idioms.docx|Translation Methods of Idioms(handout)]] by Li Ruiyang 李瑞洋<br /> <br /> ==Homework for next session 12, Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> =Session 12, Dec 15, Theory and Practice.=<br /> <br /> ==Homework for this session Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 15 on Theory and Practice==<br /> (Catford Translation Shift Theory and Its Practice) ppt by 周巧 and handout by 朱素珍.（The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature）handout by 罗曦 202120081512；PPT by 詹若萱 202120081549<br /> * ppt 1: [[Media:Catford Translation Shift Theory and Tts Practice(ppt).pptx|Catford Translation Shift Theory and Its Practice(ppt)]] by Zhou Qiao 周巧; handout [[Media:.docx| Catford Translation Shift Theory and Its Practice|Catford Translation Shift Theory and Its Practice ]] by Zhu Suzhen 朱素珍.<br /> <br /> ==Homework for next session 13, Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> =Session 13, Dec 22, Decriptive Studies, Culture, Invisibility, Constructivism=<br /> <br /> ==Homework for this session Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==<br /> <br /> ==Homework for next session 14, Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> =Session 14, Dec 29, East-West Comparison=<br /> <br /> ==Homework for this session Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 29 on East-West Comparison==<br /> <br /> ==Homework for next session 15, Jan 5==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 15<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210105_homework|homework of session 14 for session 15, Jan 5]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Jan 5:) Prepare ppt or handout.<br /> <br /> =Session 15, Jan 5, Review in Preparation of final exam=<br /> <br /> =Session 16, Jan 12, Final Exam=<br /> <br /> <br /> =Samples from last year: 人类起源 The emergence of translation and interpretation=<br /> Please note: All the sessions (2-16) here are copies of the 2020 course. <br /> <br /> You can have a look how the fellow students did it last year, <br /> <br /> but you have to write everything new here for 2021.<br /> <br /> *Teacher presentation<br /> <br /> *Student presentations<br /> <br /> OLD (2020):<br /> <br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|Qi Kai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> ==Session 7: Western theories==. 周巧 presentation PowerPoint 朱素珍 handout Cat ford Translation Shift Theory<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> ==Session 8: Methods==<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> ==Session 9: Style==<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> ==Session 10: Translation Studies==<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> ==Session 11: Theory and Practice==<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> ==Session 12: Different Aspects==<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> ==Session 13: East West comparison==<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> ==Session 14: Strategies==<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> ===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===<br /> <br /> Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) <br /> <br /> Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)<br /> <br /> ===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &quot;Snow Country&quot; as an Example===<br /> <br /> Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.docx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.pptx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> ==Session 15: Contemporary Translation Theories==<br /> <br /> ===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201228_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].<br /> <br /> <br /> ===Topic 1 Contemporary Translation Theories ===<br /> <br /> Classroom handout for download: [[Media:Contemporary Translation Theories.docx]] <br /> <br /> <br /> Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]] <br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)<br /> <br /> ==Session 16: Final Discussion==<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT<br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Website to write your final exam paper on==<br /> [[20220112_final_exam|final exam page]]<br /> <br /> As a reference, here is the information about last year's final exam papers:<br /> <br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> Here you can write your Final Exam Papers:<br /> <br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.<br /> <br /> =Misplaced things=<br /> Handout 4 of Ren Xin --<br /> 贺骥.“世界文学”概念:维兰德首创：<br /> Summary： 主要讲述了人们发现维兰德首次提出“世界文学”的过程，维兰德对“世界文学”的概念以及与歌德的比较。<br /> <br /> 一、为何说维兰德首创“世界文学”？<br /> 1987 年，德国学者魏茨( Hans-Joachim Weitz，1904—2001) 在《阿卡迪亚》杂志上发表了一篇题为《维兰德是“世界文学”一词的首创者》的短文。魏茨声称他发现了德国作家维兰德( Christoph Martin Wieland，1733—1813) 在1790 至1813 年间亲笔书写的一则手记中首次提到“世界文学”。但维兰德于1813 年1 月20 日去世，他的同时代人并不知道他写有这则手记，歌德在不知情的情况下从1827 年1 月15 日起多次使用了“世界文学”这个词。维兰德与歌德对于“世界文学”的概念相近，但他没有详细论证。所以说，“世界文学”一次是维兰德首创，歌德第一次明确提出的<br /> 二、维兰德“世界文学”的概念与歌德的比较<br /> 1. 维兰德在创作早期作品时：世界文学就是世界各民族的文学名作的总集。该观点体现在《民族文学》文学是世界各民族的共同精神财富，世界文学就是所有时代所有民族的典范作品总集。<br /> 2. 和歌德一样，维兰德的世界文学概念带有言必称希腊的欧洲中心主义色彩，他的世界文学乃是以古希腊罗马文学为正典、以欧洲文学为核心的世界各民族文学经典的总集。“阅读最优秀的作家的杰作”乃是维兰德“世界文学”概念的核心: 杰作即古往今来世界各民族的文学经典。<br /> 3. 维兰德认为优秀作品的形成过程: 首先作家必须以阅世高人的文化修养和娴熟的艺术技巧创造有审美价值的“文学杰作”；其次是后世“最优秀的人们”对这些杰作的“宣扬”和“奉为样板”。<br /> <br /> 三、“世界文学”概念有三种定义: <br /> ( 1) 广义的“世界文学”指的是所有民族和所有时代文学作品的总和( Gesamtliteratur) ; <br /> ( 2) 狭义的“世界文学”指的是超时代的、具有普遍审美价值的世界各民族文学的典范作品总集( Kanon) ，换言之，“世界文学”就是具有世界声誉的文学杰作的荟萃，这种精英主义意义上的“世界文学”概念在当今学界占据了主导地位; <br /> ( 3) 歌德于1827 年提出的文学发展蓝图，它指的是国际性的文学交往( Kommunikation der Literatur) 和文化接触，交往的结果就是具有特性的各民族文学的融合。<br /> <br /> Reference: <br /> 贺骥.“世界文学”概念:维兰德首创[J].社会科学,2014(07):176-182. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:24, 13 April 2018 (UTC)<br /> <br /> <br /> <br /> [1]文飙.阿拉伯民间文学的珍品《一千零一夜》.<br /> 1.流传情况： <br /> 《一千零一夜》早在公元六世纪左右已在波斯、伊拉克和埃及产生并流传着。公元十世纪阿拨斯王朝统治时代汇集成书,后又经过数百年不断搜集、整理、加工和修改；大约到十六世纪才形成比较完整的总集。<br /> 2.故事发生的地点：多在当时阿拉伯世界两大中心城市— 巴格达及开罗。<br /> 3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：<br /> 这个译名的来源说明中世纪时期阿拉伯帝国与中国的关系。阿拉伯半岛的麦加城在帝国中称为“ 圣城”, 城内有古庙名“ 天房”, 中国古嫂都译为“ 天方”, 实即“ 天房”之误。我国明朝以前称阿拉伯为黑衣大食国，明朝以后则称为“ 天方国”, 这就是旧译本称为《天方夜谭》的原因。<br /> 4.故事内容： 《一千零一夜》是一部包罗万象的民间故事集, 有格言、谚语、童话, 王子公主的恋爱故事, 及市民冒险故事。这些故事的主角从底层的劳苦大众到最高的统治者哈里发。能够比较全面而深刻地反映中世纪东方的社会生活。<br /> 5.《一千零一夜》的起源：<br /> 在古代印度和中国为海岛中,有一个萨桑国。残暴的国王山鲁亚尔每夜娶一王后,翌晨即杀掉再娶。老百姓受此威胁,十分恐怖,纷纷携儿带女逃走,致使城中十室九空。然而国王仍照例命令宰相寻找女子供他虐杀。一天，宰相找遍民间，没找到一个,便满怀恐惧、忧郁地转回府邸来。宰相的大女儿山鲁佐德见父亲情状,问明情由,执意让父亲把她嫁给国王,宰相不得已才把女儿送进宫去。山鲁佐德一见国王,就悲伤地哭泣起来，她希望国王允许她在死之前能和妹妹再见一面,国王同意了,派人到宰相家召敦亚佐德进宫。姐妹俩高高兴兴地坐在床脚下谈笑。其时,敦亚佐德请求姐姐讲个故事消磨时间。山鲁佐德便征得国王许可,开始讲起故事来,借以引动国王的好奇心和兴趣,从而免遭杀戮。这样,日复一日,山鲁佐德一直讲了一千零一个夜晚,最后，终于使国王悔悟。<br /> 6.影响：<br /> 《一千零一夜》在世界各国广为传播。<br /> 它最早介绍到欧洲,对西方文化起过一定的积极作用,许多欧美文学艺术家,如但丁、乔叟、薄伽丘、莎士比亚、塞万提斯、莱辛等都或多或少地受到它的直接或间接的影响。 <br /> 在我国，早在六十多年以前就有了《一千零一夜》的译本。<br /> <br /> <br /> [2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.<br /> 摘要：《一千零一夜》对世界文学的借鉴与影响。荷马史诗中的巨人故事对《一千零一夜》的启发 ,《一千零一夜》对法国、英国、德国、中国作家的影响。 <br /> 一、流传情况：<br /> 1.流传时间：多数学者认为:它的故事和手抄本在中近东地区开始流传的年代约在8 世纪中叶—9 世纪中叶。一些世界文学史家则认为:大约在十字军东征时期(1095— 1291), 《一千零一夜》的故事已通过民间传到欧洲。<br /> 2.流传情况： <br /> a. 18 世纪初, 法国人加朗根据叙利亚抄本, 首次把《一千零一夜》译成法文出版, 以后在欧洲出现了各种文字的译本。<br /> b. 中国1900 年有过译本, 以后不断的出现多种白话文本。新中国成立后, 纳训选译的3 卷本以及80 年代出版的全译本1 —6 卷, 收集了275 个故事。<br /> 二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴<br /> 《一千零一夜》第4 卷第172 个故事《辛伯达航海的故事》写三次航海的故事, 可以看出受到古希腊荷马史诗《奥德修纪》中独眼巨人故事的影响, 又带有阿拉伯民族的特色。<br /> 三、《一千零一夜》对世界文学的影响：<br /> 1.文艺复兴人文主义作家对《一千零一夜》中故事的扬弃与创新<br /> a)法国：《一千零一夜》第2 卷第75 个故事《阿里·艾尔哲明的故事》与法国文艺复兴时期拉伯雷《巨人传》中第三代国王庞大固埃出生时的行囊装载十分相似。<br /> b)英国：在《一千零一夜》第3 卷第152 个故事的《亚历山大大帝和弱小民族的故事》与英国文艺复兴时期的作家莎士比亚的《哈姆雷特》中有类似的情节，两个故事有历史延续性与巧妙的联系。<br /> 《一千零一夜》：<br /> 东征西讨的希腊国王亚历山大,一次路过一个弱小国家, 其民众各自门前准备好了坟墓, 家家一贫如洗, 安贫乐道, 所以并不怕亚历山大来争夺地盘。亚历山大十分好奇, 亲自见他们的国王。国王拿了两个头骨, 告诉他这是两个国王的头骨, 一个生前暴虐, 死后安拉让他下地狱;一个生前公正廉明, 爱护百姓, 死后安拉让他升入天堂。国王又问亚历山大:“ 到底你是这两个帝王中的哪一个呢?”年青的亚历山大受了感动, 要这个国王做他的宰相。国王拒绝了他, 说他虽拥有一个大帝国, 却有许多仇敌。国王虽穷, 他所有的一切“ 仅仅是知足” 。亚历山大感慨万千,告辞归去, 不再侵犯他们。<br /> 《哈姆雷特》：第五幕第一场墓地对话中 <br /> 哈姆雷特面对死人头骨说道:“ 要是我们用想像推测下去, 谁知道亚历山大的高贵的尸体, 不就是塞在酒桶口上的泥土?”“ 凯撒死了, 你尊严的尸体, 也许变了泥把破墙填砌, 啊! 他从前是何等的英雄, 现在只好替人挡风遮雨。”<br /> c)意大利：意大利文艺复兴时期的小说家卜伽丘的《十日谈》中的贵妇宴请国王吃鸡宴, 以打退国王邪念的故事, 在《一千零一夜》第4 卷第175 个故事《宰相夫人的故事》中有类似情节。<br /> 2.对18 世纪英国现实主义小说家笛福《鲁宾逊飘流记》的影响<br /> 把《辛伯达航海的故事》与《鲁宾逊飘流记》相比较, 辛伯达可以说是鲁宾逊典型的雏型与前身, 鲁宾逊则更加丰富, 更带时代特点。<br /> 1)不同点： <br /> 辛伯达是中世纪阿拉伯人中积极进取, 发展海外贸易,不断向外开拓勇于冒险的新兴商人, 他开初坐享父亲遗产,挥霍一空, 最后决定变卖家产七次到海上做冒险生意。<br /> 鲁宾逊是18 世纪英国资本主义原始积累时期的新资产阶级商人的代表, 父亲没有给他丰厚的资产, 他本人是不满现状的小商人, 三次海外冒险；<br /> 辛伯达是在第7次航海时在一个岛国居住了27 年才返回故乡, 鲁宾逊是在第三次航海时在一个荒岛上度过了28 年, 才返回故乡。<br /> 2)相似点：<br /> 两人都曾遭到过毁灭性的打击, 死里逃生,但每次都以顽强的毅力, 惊人的应变能力, 沉着应付, 化险为夷；发财致富的欲望, 对海外世界的好奇与向往, 每次都促使他们不安现状, 敢于做一次又一次的冒险。<br /> 3.对中国作家的影响<br /> 《一千零一夜》第1 卷第12 个故事《脚夫和巴格达三个女人的故事》中，脚夫诵的表达自己忠信的诗同中国现代作家钱钟书的长篇小说《围城》中的苏小姐自己写的诗相似。这里已改造成一首爱情诗, 方鸿渐当时并不知道是苏小姐自己写的诗, 说这首诗是借的外债,<br /> 四、小结<br /> 因为国别不同, 语言不通, 翻译技术有限，后来的作家们不一定能亲自看到这些《一千零一夜》中的故事原文。但阿拉伯文化与文学对欧洲文艺复兴运动及后来的世界文学的发展起到的推动作用和所作的贡献是世界发展史上所公认的事实。<br /> <br /> <br /> [3]陆英英.《一千零一夜》在欧洲.<br /> 摘要： 介绍了欧洲许多国家早期对《一千零一夜》的译本。《一千零一夜》译成欧洲各种文字后, 引起了欧洲人收集和研究东方文学的热望, 激起了他们了解东方的兴趣。《一千零一夜》对欧洲文学包括戏剧、小说、诗歌、诗剧都产生了巨大影响。<br /> 1.法国译本：<br /> A.1704-1717年出现的法国安东尼·加仑的译本是《一千零一夜》——最著名的译本。为了迎合读者掺杂了许多自己想象的情节<br /> B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版<br /> C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作<br /> 2.英国译本（几乎都是从法国译本转译而来）： <br /> A.1811年乔纳森·斯科特出版的译本 —— 最突出<br /> B.1838年，亨利·托伦斯打算给译文加注释, 但他只译了五十夜就死了<br /> C.1839-1841年，爱德华·威廉·莱恩的《一千零一夜》三卷本（从阿文直译），删去了当时英国的道德传统所不能接受的故事, 并写了许多注释 —— 极具参考价值<br /> D.1885年，理查德·伯顿的译本出版 —— 最完备的译本<br /> E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩<br /> 3.德国译本：<br /> A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。<br /> B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩<br /> C.东方学家莱塔马教授 —— 德国最著名的译本<br /> 4.罗马尼亚译本：<br /> A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早<br /> B.1783年，修道院主教罗法伊勒出版了根据希腊文译出的全译本<br /> C.1835-1838年格拉西姆·哥嘉出版《哈利曼或者阿拉伯神话故事》四卷本译本<br /> D.1966-1976，罗马尼亚最大出版社——梅纳法出版社出版了十四卷本的《一千零一夜》<br /> 5.俄文译本：<br /> A.萨利尔译的，东方学家卡利姆斯基出版的。<br /> B.高尔基于1904年也译过。<br /> C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。<br /> 6.捷克译本：<br /> 1958-1963年捷克斯洛伐克科学院出版的塔瓦外孜授译的《一千零一夜》全集。<br /> 7.波兰译本：<br /> 1774年出版了第一本——《阿拉伯传奇或一千零一夜》<br /> 8.威尼斯译本：<br /> 1757-1762年，出版了四卷本的《一千零一夜》和《一千零一日》故事集, 书名为《阿拉伯故事》。<br /> 9.希腊译本：<br /> 译者为布利兹威斯，译本分三卷。<br /> 10.此外还有葡萄牙语、荷兰语、丹麦语、瑞典语、匈牙利语等译本。<br /> 东方学家朝温在《阿拉伯著作一览》一书中用了一百二十页专门介绍《一千零一夜》的各种版本和文本。<br /> <br /> 参考文献：<br /> [1]文飙. 阿拉伯民间文学的珍品《一千零一夜》[J].徐州师范学院学报,1978(02):59-64.<br /> [2]冯辉. 略论《一千零一夜》对世界文学的借鉴与影响[J].河南教育学院学报(哲学社会科学版),2001(01):110-112.<br /> [3]陆英英.《一千零一夜》在欧洲[J].阿拉伯世界,1983(02):84-90. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:34, 16 April 2018 (UTC)<br /> <br /> <br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> <br /> 摘要： 中国翻译史的源头是佛经翻译，而西方翻译史则始于另一部宗教巨著———圣经翻译。中国的佛经翻译和西方的圣经翻译虽然在具体内容、翻译分期、信徒和对应的时代背景等方面有所差异，但两者都经历了直译、意译、直意译相结合的发展历程。本文对比了佛经翻译和圣经翻译，探求宗教类文献翻译中的共同特点。<br /> 1.佛经翻译<br /> A.四个时期：<br /> a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；<br /> b.初步发展阶段是（晋代到隋朝），代表人物有道安和鸠摩罗什；<br /> c.鼎盛时期（唐朝），代表人物为玄奘、不空；<br /> d.逐渐结束于北宋。<br /> B.翻译形式<br /> 最初由西域僧人的梵语口授，再找汉人加以润饰。音译。<br /> 后来出现精通汉语的印度高僧和熟练掌握梵语的中国高僧。直译为主。<br /> C.翻译大家<br /> 三藏法师，从数量和翻译成就都无人能比。直译&amp;意译结合。<br /> 2.圣经翻译<br /> A.概况<br /> 圣经翻译是西方翻译史的起源。经历了希伯来文－希腊文－拉丁文的过程。<br /> B.流传形式：手写本。<br /> C.最早的圣经译本：公元前3-2世纪《圣经·旧约》（据《西方翻译简史》记载。后世也叫《七十子希腊文本》。<br /> 缺点：用词晦涩难懂，不易理解，跟当时的希腊语有较大的出入。<br /> 优点：此译本特别完整准确地还原了圣经原籍的内容。<br /> D.翻译大家：a. 西塞罗—西方翻译史上最早的翻译理论家，主张活译。<br /> b. 圣哲罗姆—翻译了第一部标准拉丁语圣经。直译和意译相结合。<br /> 3.佛经翻译和圣经翻译的相似性：<br /> 经历了直译—意译—直意译结合的过程。<br /> A.最初翻译时，中西译者都是逐字逐句的直译。<br /> 原因：宗教经典神圣不可侵犯，译经僧侣对宗教经典抱有虔诚态度；<br /> 由于译者身份的局限性，缺乏专业的语言翻译基础。<br /> B.随着经验的累积，译者们开始倡导意译。<br /> 代表人物：马丁路德<br /> 原因：受众人群都是普通老百姓，需要简单流畅、明晓易懂的语言才能让教义被大众所通晓。<br /> C.主张直译&amp;意译相结合。<br /> 代表人物：玄奘大师—《钦定本圣经》<br /> <br /> <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> <br /> 摘要：作者认为比利时学者安德烈勒菲弗尔（当代文学翻译学术带头人，较有影响力）由于对中国翻译史缺乏深入研究，对中国的佛经翻译了解不透彻，在《中西方翻译思想比较》中提出“西方译者更为忠实原文, 而中国译者则倾向于归化原文”的观点较为片面。并提出佛经翻译和圣经翻译的共有规律：直译、意译两原则交替主导翻译活动并趋于成熟，直至最终实现两者的有机融合。<br /> <br /> <br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> 摘要：《圣经》翻译的主要功能是服务于宗教的传播。但译者们对其“创造性叛逆”的翻译，使得《圣经》对世界各民族语言，包括对中国语言文学都产生了深远影响，同时推动各国文化交流、促进不同思想的包容。<br /> <br /> 1.翻译不只是语言文字的转换，而是应关注原文在外语和本族语转换过程中的信息的失落、变形、增添、扩散等问题。<br /> 2.《圣经》翻译对西方各国（民族）语言的影响 —— 不分析译本翻译的好坏，而是分析译本对译入语国家或民族的文化和语言所产生的影响。<br /> A.4世纪，乌裴拉主教翻译成东日耳曼语。<br /> 8、9世纪，阿尔弗雷得等翻译成古英语。<br /> 这些标志着民族语言翻译的开始。<br /> B.《圣经》翻译在13世纪达到了新的高潮。<br /> C.马丁路德：把《圣经》新约和旧约翻译成德语，并且翻译成能被大众所接受的语言。他认为翻译就是让外语成为译者的本土化语言。<br /> 作用：消除了普通人对《圣经》的语言障碍，对统一德语和发展德语做出贡献。<br /> D.威廉廷代尔的译本成为英国翻译史上最著名的英王钦定本的主要参照本。<br /> 作用：完全符合英语的用法习惯，增加了英语的表现力；<br /> 对英国散文、语言和文化发展起到了不可估量的作用。<br /> 3.《圣经》在汉译中的创造性叛逆<br /> A.创造的叛逆性翻译是为了使《圣经》在新的环境中易于被受众接受。<br /> B.特征：<br /> a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。<br /> 吴经熊翻译的《新约全集》:“天主聖子耶穌基督福音之濫觴，正如《意灑雅先知書》之所記云:吾遣使者，以先啟行; 為爾前驅，備爾行程。”<br /> b.误译：严复的译本以中国士大夫为主要读者，因此他的译本符合士大夫的价值观，同时也降低阅读难度。<br /> c.改编或删节：严复考虑到中国读者几千年来的儒家文化熏陶，迎合中国道德伦理和文化。<br /> 4.《圣经》汉译对中国语言文学的影响<br /> a.丰富了汉语词汇，为现代汉语带来许多新意象和表达方式。如，天堂、伊甸园等。<br /> b.影响中国现代文学的创作主体，许多意象来源于《圣经》中的典故。<br /> c.影响许多中国著名的作家和文学理论家。如，鲁迅、冰心、徐志摩等。<br /> <br /> <br /> [4] 曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23.<br /> <br /> 《圣经》中包含的男权思想：<br /> 1.创世纪故事中包含的男权思想。<br /> a.在上帝创世的神话中，男性亚当是用象征承载人类生命的泥土按上帝的形象创造出来的，而女性夏娃是作为男性的附属品用亚当的肋骨而创造出来的，目的是为亚当消除孤独寂寞。<br /> b.创世纪故事中，包含“女人是祸水”思想。作为女性象征的夏娃经不住蛇的诱惑，偷吃了禁果，使人类受到上帝的惩罚，开始了苦难。<br /> 2.“圣经故事”中的先知先觉、基督英雄们都是男性。<br /> 人类历史的英雄史都是谱写男性的。整个圣经故事都是以男性英雄为主线而描绘基督教历史的。从最早制造方舟振救人类的挪亚，到带领以色列人出埃及，使以色列人摆脱埃及法老贵族奴役的摩西，到带领以色列人力战外族，为以色列人开缰拓土的约书亚，再到带领以色列人雪耻，赶走外族，使以色列人建国的大卫以及拯救人类的耶稣等等。<br /> 3.婚姻家庭中的男权思想、夫权思想 <br /> a.嫡长子制，忽视女性后代的存在。<br /> b.多妻制。基督英雄们都是妻妾成群，可以主人的身份任意拥有女人。<br /> c.休妻制。女性不论犯不犯错都可能被休。甚至可以被男性当财产、畜生一样送人。<br /> <br /> <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究, 2009(00):35-44.<br /> 摘要：作者认为出现在父权制社会的圣经充满了男性形象和语言，对《圣经》进行重新的诠释，以挑战圣经中的父权制。焦点是希伯来圣经，重点不仅仅落在不利于女性的事例上。 考量了圣经中女性研究的三条女性主义进路。<br /> 1.阐释了一些不利于女性的故事。希伯来女子从生到死都属于男人，遭受到男性权威的虐待、凌辱。<br /> 2.重申被忽视的女性作为上帝的篇章和反抗父权制文化的女性形象。<br /> 3.利用前两种方式，同情地重新讲述关于妇女的故事<br /> （作者菲利斯·特丽波被认为是在圣经文本基础上探索妇女与性别问题的领袖人物）<br /> <br /> <br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.<br /> 女性经验是重新阐释圣经的基点。<br /> 女性主义圣经诠释随着女性神学的繁荣而发展。女性圣经诠释是不同于女性主义神学的独立学科，它具有独立的研究前提和范畴。<br /> 核心内容：对传统的圣经诠释和基督神学所建构的两性关系提出质疑和批判；寻找、重建圣经中被忽视、被遗忘的女性形象，恢复重建女性的地位和尊严；为争取女性在教会中担任圣职而斗争。<br /> <br /> 参考文献：<br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> [4]曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23. <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究,2009(00):35-44.<br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 02:42, 4 June 2018 (UTC)<br /> <br /> <br /> 《霍乱时期的爱情》<br /> 加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物<br /> 1967年，《百年孤独》；1982年， 获诺贝尔奖；1985年，《霍乱时期的爱情》<br /> 故事是以费尔明娜和阿里萨、乌尔比诺医生爱恨悲欢的三角恋为主线，以阿里萨与其余622名女性形形色色的性欲与真情为副线。小说采用了顺时叙述。以乌尔比诺的棋友之死为故事的开始，先后讲述了：医生的婚后生活；阿里萨和费尔明娜如诗如梦的初恋，乌尔比诺追求费尔明娜并与之结婚；阿里萨的失望心情和纵欲寻欢；费尔明娜婚后生活的不快和孀居的孤独；阿里萨耐心点燃费尔明娜心中的爱火。<br /> 一.主要人物：<br /> 1.阿里萨：喜欢阅读、喜欢写诗。多愁善感，阴郁。一生中有过623个女人，但费尔明娜是他一生的挚爱。最后在他并不怎么上心的航运公司里获得了董事长的职位。<br /> “费尔明娜，我等待这个机会，已经有51年9个月零4天了，在这段时间里，我一直爱着你，从我第一眼见到你，直到现在，我第一次向你表达我的誓言，我永远爱你，忠贞不渝。”这句话是在等待了半个世纪终于等到费尔明娜的丈夫死去后，阿里萨在葬礼之后再一次对费尔明娜隔了51年的第二次表白。<br /> 2.费尔明娜：她是骡子商人的女儿，美丽、智慧并且高傲。被阿里萨追求却遭到父亲的强烈反对，后来嫁给医生乌尔比诺。<br /> 3.乌尔比诺医生：擅长治疗霍乱的医生，黄金单身汉，知识渊博，外表帅气（虽然电影里图片很猥琐），热爱城市并致力于为他的城市他的家乡奉献，但实际上骨子里较懦弱，在和费尔明娜的婚姻里婆媳关系不合，他不敢冲撞他的母亲。“只有上帝知道我有多爱你。”<br /> <br /> 二.爱情&amp;霍乱的隐喻关系<br /> 1.在追求费尔明娜的过程中，阿里萨生理和心理都经受了如霍乱症状一般的痛苦。在阿里萨对费尔明娜一见钟情后，“他开始寡言少语，茶饭不思，辗转反侧，彻夜难眠”。<br /> 等待费尔明娜回第一封信的时候“他腹泻，吐绿水，晕头转向，常常突然昏厥，脉搏微弱，呼吸沉重，像垂死之人一样冒着虚汗…”这些症状和霍乱的症状很相似。但事实上阿里萨并没有患上霍乱，后边医生的检查也可以证实。<br /> 所以，我们可以这样认为：爱情，在阿里萨身上的表现就如同霍乱对人的侵袭一样。在这本书中，霍乱也就代表爱情，所有的症状都是变相的爱。<br /> 但不同的是：疾病带来的恐惧是自私的，是从自我角度出发的，是害怕失去自己；而爱情带来的恐惧常常源自于所爱之人，是害怕失去对方。<br /> <br /> 2.在中国古代文学里也有关于爱情对疾病的意象。<br /> 在中国，因爱情引起的疾病叫做“相思病”，一般是因对某人的思念而生病。表现为焦虑、食欲不振、失眠、幻想、晕厥等类似生病的身体状态。<br /> 很著名的例子就是《红楼梦》中的林黛玉人物形象。 还有《西厢记》张生为崔莺莺“为伊消得人憔悴”也是“相思病”的例子。这样的例证还有很多。<br /> 问题：如果爱情是一种病，能致病，那么医生能不能诊断并治愈因爱情引起的疾病呢？<br /> 大家都知道，林黛玉的身体一向比较弱，但是住在大观园中可以让黛玉有很好的物质条件治疗或者从中医角度来讲“调养”她的身体。看当时最好的医生, 吃的是最难得到的药材做成的药。可是在听到宝玉和宝钗成亲的消息后还是郁郁而终。说明在中国的古典文学中，医生并不可以治愈爱情引起的相思病。<br /> 我们再看西方文学里《变形记》——“所有人都知道, 真正的疾病和爱情疾病是很相似的: 意识变得虚弱, 眼神变得憔悴,膝盖变得无力… 上帝啊! 医生们真是无知啊! ”<br /> 还有《霍乱》里，母亲担心阿里萨得了霍乱,去看了医生。做了很多必要的医疗检查, 最后通过对阿里萨的性格了解以及与阿里萨的谈话确定了病因。医生最后能确诊阿里萨的爱情疾病并不是因为他高超的医术或者他的各种医学常识, 而是因为他本人的年纪来带的阅历以及对爱情和对阿里萨的了解得出的结论。<br /> 以及小说里医术高超的乌比尔诺医生, 虽然有广博深人的医学知识储量, 他研究霍乱是为了在医学层面上彻彻底底的治疗它。他一点也不懂爱, 不懂爱情。所以，乌比尔诺医生也不具有诊断爱情疾病的能力。<br /> 所以，中西方古典的文学作品中, 医生是并不赋有能力来诊断和治疗爱情所引起的疾病的。<br /> <br /> 三.主人公的青年、中年、老年三个阶段他们的爱情。<br /> a.青年阶段——浪漫疯狂，以阿里萨和费尔明娜的初恋为主。因费尔明娜的醒悟接着拒绝阿里萨而结束——“不，请别这样，忘了吧”、“今天见到您，我发现我们之间不过是一场幻觉”。这个时期，阿里萨是以等待、信还有音乐追求费尔明娜的，我认为这三项几乎是在所有的爱情中都会或多或少起到作用的。<br /> 等待。自从阿里萨对费尔明娜一见倾心之后，他就每天在费尔明娜上学必经的道路上，捧着一本诗集在一棵杏树下假装看书，只为了一天能匆匆忙忙地看上她四次，风雨无阻。<br /> 信。最初阿里萨缺乏勇气向费尔明娜说出自己的爱意，于是开始给费尔明娜写信，从一张便条最后变成了70页的情书。也是在频繁通信中，打动了费尔明娜。<br /> 音乐。在因费尔明娜失眠的夜晚，他在费尔明娜的窗外演奏自创的爱的华尔兹。费尔明娜也是在他的音乐中更深刻的了解他。<br /> 总的来说，青年时期：他们的相爱过程短，不成熟，更多的是幻想。<br /> <br /> b.中年阶段，主要是费尔明娜与乌尔比诺医生的婚姻以及阿里萨漫长的等待中的孤独狩猎生涯。<br /> 费&amp;阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。<br /> 阿里萨在被拒绝：先是自虐，后转移对费尔明娜及她丈夫的怨恨与诅咒，随后又对费尔明娜宽恕，决定和费尔明娜留在同一个城市，并且开始新一轮漫长的等待，他的单相思——对抗时间和死亡，等乌比尔诺医生死去。<br /> 爱情的失败也让阿里萨意识到自己的身份和社会地位配不上费尔明娜，逼迫着自己去经营生活，改变自己的社会地位。<br /> 阿里萨猎艳：通过性寻找爱，消除内心孤独感<br /> 同时他和众多女人发生肉体关系。但其实正是通过和其他女人的相处，来消除内心的孤独感，弥补得不到费尔明娜爱情的缺失。他也更加确认费尔明娜对他的不可替代，是他一生唯一的挚爱。<br /> 费&amp;乌：世俗婚姻。陪伴，稳定、平淡。<br /> 在费尔明娜与乌尔比诺医生的婚姻中，他们互相陪伴，平淡也稳定。只有一次例外，就是乌尔比诺出轨芭芭拉林奇小姐，被费尔明娜发现后，医生经过长时间的内心矛盾并最终坦白。<br /> <br /> c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。<br /> 阿里萨一直坚持到了医生去世。他以他的坚持和耐心打动了费尔明娜，让费尔明娜愿意接受他。他们开始了一段旅行，旅行结束的时候因为他们不愿面对现实所以不愿回去，最后乘着以霍乱为帆的船继续航行。<br /> <br /> 四.小说里讲述的各种各样的爱情可能。<br /> 开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；<br /> 阿里萨和费尔明娜持续了半个世纪的柏拉图式的精神恋爱（包括他们青涩纯粹的初恋与年老时的黄昏恋）；<br /> 阿里萨对费尔明娜忠贞不渝的单相思；<br /> 费尔明娜与乌尔比诺医生的世俗婚姻爱情；<br /> 乌尔比诺与林奇小姐战战兢兢的婚外恋；<br /> 阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；<br /> 阿里萨与14岁少女的洛丽塔式的忘年恋…<br /> 忠贞的爱、雀跃的爱、逃离的爱、私通的爱、狂热的爱、转瞬即逝的爱、生死相依的爱…<br /> 不同层次不同角色不同性质的爱情，这篇小说也堪称是“爱情的教科书”“陈列爱情的博物馆”<br /> <br /> 五.除了爱情之外的其他主题。<br /> 1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；<br /> 岁月加于人的痕迹——表现在岁月加于主人公身上的痕迹（蹒跚的步态、上楼梯的速度、意外的跌倒、满是皱纹的皮肤、稀疏的头发）；<br /> 乌尔比诺医生、阿里萨想尽办法延缓衰老 <br /> 2.死亡。小说中提到最多的是霍乱，也是整个故事发生的宏大背景。<br /> 借以描写这种难以治愈、神秘莫测的疾病来写死亡。因为霍乱预示着死亡，而且在当时几乎就等于死亡，当时地的生产力水平和医学发展不足以让人们去抗衡。<br /> 当人们被生理上的痛楚折磨时，往往无力也无心开出精神上的花朵。然而小说中描写的就是这样一种稀有的生命之花，因为爱情有勇气与苦难和死亡的疾病抗争。<br /> <br /> 阿里萨一生都在追求费尔米纳的爱情，即使面临死亡的抉择也义无反顾: 冷酷无情的费尔米纳的父亲最初阻挠女儿与他的爱情时，甚至用死亡来威胁阿里萨，但是阿里萨毫无畏惧，“‘朝我开枪吧!’他说，把一只手放在胸口上，‘没有比为爱情而死更光荣的事情了’”。因为有了爱情，所以阿里萨充满了无畏的勇气。他为了爱情不怕死，并且崇尚为爱而死。<br /> 同时阿里萨的爱情之路实质上是一直与死亡作斗争，他到年老时害怕衰老和死亡，因为他明白，只有乌尔比诺医生死去，他才有机会再接近费尔米纳，因此，他努力与时间、衰老、死亡作斗争，他要为爱好好活着，战胜时间，战胜衰老，跨越死亡，他要活过乌尔比诺，才能重获费尔明娜。<br /> 所以说这两个主题实际上也是与爱情密切相关的，因爱情而起的，可以归结到爱情主题上。<br /> <br /> 参考文献：<br /> 1.於珍珍.《霍乱时期的爱情》中的医生形象分析[J].才智,2014(32):318-319.<br /> 2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.<br /> 3.谈清妍.爱情的乌托邦——解读《霍乱时期的爱情》中的爱情与死亡[J].襄樊学院学报,2009,30(06):51-54.<br /> 4.高小斐,孙世友.悲欢离合五十年——浅论《霍乱时期的爱情》中的爱情[J].才智, 2014(16):288.<br /> 5.李贞琤.疾病缠绕下的爱情——马尔克斯小说爱情主题与疾病主题关系探究[J].开封教育学院学报,2017,37(12):38-39+42.<br /> 6.姚婧.情感的疾病化书写——解读《霍乱时期的爱情》[J].名作欣赏,2015(17):125-128.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 03:00, 4 June 2018 (UTC)<br /> <br /> handout of张传伟<br /> 世界主义与世界文学<br /> 一、世界主义<br /> <br /> 1、世界文学的定义：<br /> (1) 各民族优秀文学的经典之总汇；<br /> (2) 一种用于从总体上研究、评价和批评文学的全球的、跨文化的和比较的视角；(3)不同语言中的文学生产、流通、翻译和批评性选择的发展演变过程。<br /> <br /> 2、形成和发展<br /> （1）词源探究<br /> 作为一个跨学科的理论概念和批评话语，世界主义可以追踪到古希腊的哲学思想那里，甚至这个术语本身就出自希腊语。我们今天在英文中所描述的世界主义( cosmopolitanism) 是由两个词组成的:cosmos在希腊语中，意为宇宙或世界，polis意为城市或城邦。这样我们就有了“世界”这个词。那些信仰其伦理道德的人便被人称为“世界主义者”( cosmopolites)，而他们的主张和理论教义便被称为“世界主义”。这就是世界主义概念就其字面意义而言的形成。<br /> （2）后世发展<br /> 世界主义通常在三个层面得到讨论:哲学的、政治学和社会学的以及文化和文学的层面。哲学维度的世界主义可以追溯到柏拉图和亚里士多德的著作，这两位希腊先哲本质上并不赞成世界主义，在他们看来，人们通常生活在自己的城邦，并且依恋特定的政治教义，所以很容易与之相认同。当他们的城邦遭受外敌入侵时，公民们便会奋起抗击，保卫自己的城邦。对这些古希腊人来说，好的公民不应当与外邦人分享过多的利益。这一观点后来逐步发展为爱国主义和民族主义。在中国，爱国主义和民族主义对那些试图形成独特的中华民族和文化认同的知识分子一直有着极大的吸引力，一个特例就是五四时期，当时虽曾有人鼓吹过世界主义，但很快就销声匿迹，淹没在民族主义的汪洋大海中了，其原因恰在于当时的中国文化土壤和时代精神并不适合世界主义驻足。<br /> 但并不是所有古希腊先哲们都反对世界主义，另一些思想较为开放且见多识广的古希腊知识分子，尤其是犬儒派哲人迪奥格尼斯(Diogenes)则鼓吹一种较为普世的伦理道德，因为他并不把自己局限于特定的城邦，甚至公开宣称:“我是一个世界公民。”从此，“世界公民”(citizen of the world)便成了所有信奉世界主义的人所致力于追求的理想。当然，他们所追求的并非是特定的民族—国家的利益，而更是一种普世价值和全人类的共同利益。他们的这种理想和追求并不满足于局限在哲学和社会政治层面，他们还试图将其推而广之。<br /> 当代学者在讨论世界主义时很少引证这些远古时期的观点，但其中的某些观点却依然在现代哲学家的著作中得到响应和发展。启蒙时期的哲学家如康德则表示了对其的莫大兴趣，提出一种世界主义的法律或权利。19 世纪以前的不同形式的世界主义仅仅停留在哲学家的假想和论辩层面上的话，那么自19 世纪以来，那些有远大抱负的人便逐渐开始将世界主义付诸实践了，从哥伦布发现“新大陆”到世界贸易航线形成等都为全球化的进程奠定了基础。<br /> <br /> 二、世界文学<br /> <br /> 1、源起<br /> 歌德是德语“世界文学”( Weltliteratur) 一词的创制者，也是第一个明确提出世界文学观念的人。歌德关于世界文学的论述集中在1827-1830年间，归纳起来有三个要点: 其一，世界文学是一个对话和流通的平台，各民族文学可以通过进入这个平台相互交流、取长补短、相得益彰。其二，世界文学是一个合乎世界主义的理想，能够推动各民族文学逐渐打破孤立割裂状态，影响融合而形成一个有机的统一体。其三，世界文学是彰显民族文学价值的场所。歌德就站在德国的角度谈论世界文学，他渴望本民族文学在推动世界文学形成过程中扮演“光荣的”、“美好的”角色，对其他民族文学(例如法国文学) 所处的优势地位则十分敏感。<br /> <br /> 2、“世界文学”内涵<br /> 在《什么是世界文学？》一书中，丹穆若什以世界、文本和读者为中心，进一步阐释“世界文学”的三重定义：“世界文学是民族文学间的椭圆折射”“世界文学是从翻译中获益的文学”“世界文学不是指一套经典文本，而是指一种阅读模式——一种以超然的态度进入与我们自身时空不同的世界的形式”。首先，“椭圆折射”利用椭圆具备两个焦点的特性，指代世界文学的双重性质。世界文学具有两个核心要点——源文化和主体文化。一部文学作品如果想成为世界文学的一部分，需要从源文化出发，被他国文化空间接受。“接受”过程与接受主体的民族文化传统和价值需求相关。因此，世界文学既与源文化相关，又与主体文化相关，是一种双重折射。仔细分析，世界文学双重折射特性表明世界文学作品并非静止、孤立，而是在不同国家、不同文化间互相流通、交流、传播、碰撞。世界文学作品，不仅受到源文化熏陶，也经过主体文化的接受和改造。其次，由于语言障碍，世界文学作品的传播和流通必须依赖文学翻译。但是，文学语言在翻译过程中会有得失。丹穆若什认为翻译中对于得失的衡量是区分民族文学与世界文学的标志。具体来看，在翻译中受损的文学，“通常局限于本民族或本地区的传统内”；从翻译中获益的文学，“进入世界文学的范畴”。他进一步指出，民族文学进入世界文学，当范围扩大后，“风格上的损失会被深度上的扩张所抵消”。由此看出，世界文学作品源于民族文学而高于民族文学，价值取向超越民族特性，拥有“世界性”。最后，丹穆若什认为世界文学并非经典文本的简单集合，而是通过一种阅读，使读者超越自身时空，进入更加广阔的世界。作为阅读模式，一部作品能否成为世界文学，取决于其他国家、民族读者的阅读效果。一旦外国作品开始在读者脑中发生共鸣，世界文学就开始活动。这种“共鸣”，实际是不同民族文学作品的相同价值取向的融汇。作品自身价值取向被本国以外读者认可，超越民族性，成为世界性价值。由此看来，世界文学不代表文学作品数量的多少，而是作为一种阅读模式，“可以通过少量作品来深入体验，也可以通过大量作品来广泛探寻”，在世界范围内寻找共鸣。<br /> <br /> 3、“世界文学”与“世界的文学”<br /> 一般而言，“世界文学”和“世界的文学”这两个概念多半是在明确的不同语境中被运用：若说“世界文学”依然意味着作品之无可非议的重要性，那么，“世界的文学”则更多地指向世界上那些不怎么有名、却能展示新方向的文学；它们不同凡响、颇有魅力，却还未在读者意识中占有重要位置。也就是说，“世界的文学”未必就是审美和经典意义的上乘之作，或得到广泛接受的作品。谈论“世界的文学”，人们面对的是浩繁的书卷，无数作品和文化传统，难以把握的界线，并在挑选时怀有开放态度。<br /> 20 世纪70 年代，世界体系理论( World System Theory) 兴起于美国，对世界文学观念产生重大影响。以美国著名社会学家伊曼纽尔·沃勒斯坦( Immanuel Wallerstein) 为代表的世界体系理论的核心，是把人类社会看成一个由结构性经济联系及各种内在制度制约的一体化的体系，以此作为考察社会发展变迁的分析单位。这是对20 世纪五六十年代兴盛的以民族国家为分析单位、研究人类社会发展变迁的经典现代化理论的反拨。<br /> <br /> 4、世界文学与比较文学<br /> 世界文学与比较文学的关系引起西方学者的重视。一种声音认为，世界文学相比于比较文学，只是在原有学科体系基础上扩大比较范围。如大卫·费里斯指出：“比较文学应成为世界文学，只是扩大比较范围，比较方法不变。”另一种声音认为，比较文学与世界文学并行不悖，相互作用。“国别文学、比较文学和世界文学彼此间保持动态相互作用关系，都无法完全取代对方。”②对于读者来讲，世界文学仅存于国家空间。比如中国读者阅读海明威《老人与海》，即使该作品在世界范围内得到广泛认可，作为世界文学作品享誉中外，但对于中国读者而言，阅读的只是一部美国小说而已。比较研究作为方法，通用于国别文学、比较文学和世界文学研究。但是，如库班指出，“世界文学接受文本，即使代表特别的国家精神……也能穿过甚至超越他们的国家，语言和历史起源，有效解域本身”，世界文学关注世界性，超越民族性。今天西方学者老话重提，有一些新的阐释，但是，作为克服比较文学危机、面向未来的比较文学学科理论，尚缺乏指导性意义。全世界比较文学学者必须寻求比较文学理论的新突破。<br /> <br /> 三、中国文学的世界化与世界文学的中国化<br /> <br /> 1、中国文学的世界化<br /> 中国文学世界化并不只是中国作家获得国际大奖或是中国作家作品被翻译介绍到外国。世界化是中国文学作为全球化时代世界文学的主体之一，在世界文学中体现出中国主体性。<br /> 马克思《路易·波拿巴的雾月十八日》中说：“就像一个刚学会一种新语言的人总是要把它翻译成本国语言一样；只有当他能够不必在心里把新语言翻译成本国语言，当他能够忘掉本国语言来运用新语言的时候，他才算领会了新语言的精神，才算是运用自如。”后现代批评家们奉为圭臬的这篇名著中，马克思的话说出了中国的世界文学认证的真正价值。全球化时代中，世界文学是对自我认证，也是对他人的认证，中国文学从世界文学得到认证，同样，世界文学从中国文学得到认证。<br /> <br /> 2、世界文学的“中国化”<br /> 世界文学的“中国化”指很多学者表示怀疑，以为是将世界文学作品按中国的观念进行改造，甚至变成“红色经典”。我们必须解释清楚：世界文学的中国化并不是用中国文学标准来“化”世界文学，而是建构中国的世界文学阐释理论体系。这是完全正当的无可非议的，中国文学从不追求“文化权力中心”。但是中国文学必须建立中国的世界文学视域，中国如何看待世界文学史理论、世界文学经典的选编与世界文学翻译，这三大要素，缺一不可。<br /> <br /> 参考文献<br /> [1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.<br /> [2]曹顺庆,李斌.比较文学未来发展之路——世界文学与比较文学变异学[J].中国高校社会科学,2016(06):39-47+154.<br /> [3]方汉文.中国文学的世界化与世界文学的中国化[J].江南大学学报(人文社会科学版),2016,15(01):93-98.<br /> [4]王宁.世界文学语境中的中国当代文学[J].当代作家评论,2014(06):4-16+2.<br /> [5]王宁.世界主义、世界文学以及中国文学的世界性[J].中国比较文学,2014(01):11-26.<br /> [6]刘洪涛.世界文学观念的嬗变及其在中国的意义[J].中国比较文学,2012(04):9-21.<br /> <br /> 西方文学的翻译<br /> <br /> <br /> 一、翻译内容、技法叙事<br /> 清末颇为兴盛的外国小说翻译一方面介绍了西方的文化思想,另一方面明显的汉民族文化特征仍不容忽视。因为近代译者多具有根深蒂固的中国文化观念,因此他们在翻译过程中对原著进行特殊的、比较主观的处理是特定历史阶段的产物。<br /> 在西方小说文化思想内容的翻译方面,“西方宗教观、伦理观与中国具体国情不同,其文学作品必然与中国文化发生抵悟,翻译者趋于沟通的心理,尽可能地使译作。与中国文化相通。”<br /> 在叙事技法的传递方面,“早期小说译者的文学修养主要源于中国传统文化,其译作的小说文体形式必然采用中国原有的通俗小说文体——章回体。在原著风格的翻译方面,“早期小说译者在翻译小说时非常注重小说的读者群,这些读者多属具有一定文化修养的文人阶层,其思维方式、审美习惯皆己定型。翻译者如果想拥有庞大的读者群,其译作就应该考虑到中国读者的阅读习惯与审美情趣,突出小说消闲、怡情的文学特征。因此,外国小说译作的汉化便成了翻译者有意追求的一种语言风格。<br /> <br /> 二、翻译方法和翻译文体<br /> 由于文学意识的不自觉、白话语体表达的幼稚性以及受众对象的特殊性等原因,在近代的文学翻译中,归化的手法、文言的文体和意译的方法颇受青睐。因此,“这种译述、意译的风气使得早期文学翻译的体例很不完备。”文学革命爆发后,文学翻译的目标读者出现“平民化”倾向,文学翻译文体走向通俗化、大众化,同时由于文学翻译中文学意识的不断增强,直译方法逐渐为越来越多的译者所使用,文学翻译开始走向异化。<br /> <br /> 三、近代翻译与意识形态的相互关系<br /> 译入语文化中的主流意识形态对中国近代翻译选材有着不容忽视的影响和操控作用。1840年—1919年的中国翻译史印证了勒菲弗尔的翻译理论。通过研究这个时期的翻译史,我们可以清楚看到,翻译作品的兴盛是随着各个历史阶段的主流意识形态的变化而变化的。例如“甲午战争的失败把中华民族的生死存亡摆在每个人的面前，……此时的意识形态可以归纳为‘开民智、求变革’,其目的是为了唤醒全体国民,进行思想和现代意识启蒙。小说因为其易普及<br /> 性被选作变革工具,成为资产阶级改良派医治`社会病'的良方。”<br /> <br /> 四、近代翻译在文化和语言方面的属性<br /> 中国近代翻译有层次区别,早期的科技翻译不同于后来的社科、文学翻译,前者主要是技术问题,后者主要是文化和语言问题。众所周知，文化翻译往往涉及到深层的语言体系问题。近代社会译者所深谙的古代汉语体系决定了近代翻译文学从根本上具有中国“古代性”。这样,“翻译者总是用旧思想、旧思维来理解和表达西方新思想、新思维,总是在旧有的语言体系中寻找相对应或相似的术语、概念、范畴和话语方式,因此,西方思想文化在翻译的过程就不知不觉地变了形,变得本土化、民族化了。<br /> 五、近代翻译的动机及其所带来的影响<br /> 近代译者为了让时人了解西方民主思想和先进的科技知识,大多有目的地选择政治小说、科学小说、侦探小说加以引进,其翻译动机就是要救国启民,因此他们的翻译观明显具有功利主义的性质。这一点对于我们理解近代的小说翻译理论和翻译策略大有裨益,对于译文中普遍存在的删改现象也就能够给予合理的解释。他明确地谈到“他们企图用中国传统文化和文学的规范去干预原文本,以此来调整读者对译文的反应,避免可能造成的文化障碍。运用这种策略和方法的目的,无非是趋利避害,把原文本中有利于译文读者的信息翻译出来,对那些不利于一译文读者或不实用的信息避而不译。”<br /> 参考文献<br /> 【1】吴莎,屠国元.论中国近代翻译选材与意识形态的关系(1840-1919)[J].外语与外语教学,2007(11):38-40.<br /> 【2】顾建新.清末民初文学翻译方法与文学翻译文体的发展[J].外语教学,2004(06):50-54.<br /> 【3】韩永芝.从文化排斥与文化认同看清末外国小说翻译[J].解放军外国语学院学报,2001(05):66-69.<br /> 【4】高玉.论中国近代翻译文学的“古代性”[J].华中师范大学学报(人文社会科学版),2000(04):66-72.<br /> 【5】陆国飞.近代外国小说译介中的功利主义思想[J].学术界,2007(04):236-239.<br /> <br /> <br /> 外国诗歌翻译<br /> [1]郭建辉.外国诗歌的审美特征与外国诗歌的鉴赏[J].重庆工业高等专科学校学报,2001(03):93-95.<br /> 由于各民族的文化传统的不同影响，外国诗歌也呈现出不同的特点，详细分析了从《荷马史诗》与《圣经》到现代主义艾略特的《荒原》特点，以把握外国诗歌的审美特征。<br /> <br /> [2]河洛易.中国现代诗歌翻译概述[J].解放军外国语学院学报,2000(05):105-108.<br /> 作为中国20世纪的诗歌翻译来说, 大致可分为七个阶段：1、诗歌翻译的前奏曲——近代诗歌翻译 (1840 年鸦片战争到 1919年“五四”运动)；2、现代诗歌翻译的开创期 (从1919 年新青年社到 1930年“左联”成立)；3、现代诗歌翻译的中期 (从 1930 年“左联”成立到 1937 年抗战开始)；4、现代诗歌翻译的后期 (从 1937年抗战开始到1949年中华人民共和国成立)；5、当代“十七年”的诗歌翻译 (从 1949 年新中国成立到“文化大革命”前夕)；6、当代“文革十年”的诗歌翻译 (文革十年)；7、当代新时期的诗歌翻译 (1976 年至今)。<br /> 外国诗歌的翻译不是一个自我封闭的静态系统，而是一个不断自我调整和适应的开放系统。<br /> <br /> [3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.<br /> 翻译诗歌为百年新诗发展注入了生机和活力，学界目前多从创作技巧、形式艺术或思想情感的角度去论述前者对后者的影响，较少从创作实践的层面去思考二者的关联。实际上，新诗创作者由于接受了不同的文化而具有各自特殊的写作背景，翻译诗歌对新诗创作的影响也因为创作主体的多元化而呈现出复杂的格局：部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上；也有部分诗人通过阅读其他人翻译的作品而受到了译诗文本的影响，这部分人也包括那些参与翻译的诗人，因为他们自己在翻译诗歌的同时也可能会阅读别人的译作。<br /> <br /> [4]熊辉.外国诗歌的翻译与中国现代新诗的文体创新[J].上海师范大学学报(哲学社会科学版),2013,42(03):70-76.<br /> 外国诗歌的翻译有助于中国新诗的文体创新,作者从语言层面的创造新字、改进语言句法和表达方式,形式层面的创造新形式、引入新形式等方面展开论述。在此基础上分析了这种在翻译的过程中创新的文体所具有的文体特征和文化属性,进而表明外国诗歌的翻译对中国新诗文体创新具有带动作用。<br /> <br /> [5]李特夫,李国林.诗歌翻译研究:传统思路与现代视野[J].天津外国语学院学报,2004(01):31-36+47. <br /> 随着译学研究范式的转向、开拓与创新 ,各种译学思想得以不断重诂和修订，为我国诗歌翻译研究带来了新的启示。在对传统译诗观念进行简要回顾和思考的基础上，针对当前一些争议和疑难性问题提出了个人看法，并借鉴西方译论，就未来诗歌翻译研究有关问题进行了探讨。<br /> <br /> [[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]<br /> <br /> [[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]<br /> <br /> [[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=129459 2021-12-06T13:29:56Z

<p>Wu Yinghong: /* Final exam class projects */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|This course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] [[20220112_final_exam|final exam page]]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is mostly welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Session 1 Sep 26, 2021=<br /> Today is international day of languages!<br /> <br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> ==Organizational Things==<br /> *Please register for the Course Wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. If the name is taken, write &quot;Wang Jianguo1&quot;. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TransStud and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> *In the WeChat group, please write your name as &quot;Wang Jianguo 王建国 21级 英语口译&quot;. If possible, please use a profile photo of yourself where you can be recognized. 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、21级、方向）就好。<br /> *We meet Wednesdays 7 pm - 8:40 pm online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). Please leave your camera ON, so that we actually see each other. In the classroom, we also see each other.<br /> *Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> * Please take the weekly survey http://bit.ly/EU-SURVEY<br /> * Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.<br /> <br /> ==Edits==<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation of your fellow student beneath.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> * Prepare the final exam paper as early as possible by writing a chapter for a book on &quot;History of Translations&quot;, &quot;History of Translation Theories&quot;, &quot;Machine translation - A challenge or a chance for human translators?&quot;, &quot;Culture loaded words&quot;, &quot;The cultural turn in Translation History&quot;, &quot;Appropriateness Theory&quot; ... For this, please organize yourself, find groups who want to write the same book together, and think together about the necessary chapters and the structure etc. of the book. The paper needs to be delivered until November 1. Then we jointly work on copy editing, grading etc.<br /> * The Teaching Assistants should write the grades every week in a table, so that you can see the results of your quizzes/surveys etc., your performance in class and final exam paper grades.<br /> <br /> ==Topics, Sessions and Material==<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.<br /> <br /> 1 Sep 26 Introduction <br /> <br /> 2 Sep 29 Emergence I<br /> *Teacher presentation<br /> <br /> 3 Oct 13 Emergence II<br /> *3a Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社2009:195 pp., here 180-192.<br /> *3b=7c Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017, here the beginning about the emergence<br /> <br /> 4 Oct 20 History of Translation <br /> *4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *4b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> <br /> 5 Oct 27 Early understanding<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> <br /> *5a Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *5b Sourcebook Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.<br /> *5c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *5d Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 6 Nov 3 Linguistics and Equivalence (Nida)<br /> *6a Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *6b Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 7 Nov 10 Translation Studies<br /> *7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> *7b Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *7c=3b Tan Zaixi 谭载喜. Translation Studies 翻译学[M]. 武汉：湖北教育出版社，2000年. (the 2nd part contains a lot of English papers)<br /> *7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002<br /> <br /> 8 Nov 17 Translation Theories<br /> *8a Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *8c Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> *8d Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *8e Pan_Wenguo_Cont_West_Trans_Stud_当代西方的翻译学研究_兼谈_翻译学的学科性问题_潘文国<br /> <br /> 9 Nov 24 History of Chinese Translation Theories<br /> *9a 陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> *9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> <br /> 10 Dec 1 Appropriateness Theory<br /> *10a Moratto, Woesler: Current Dynamics, Springer 2021<br /> <br /> 11 Dec 8 Methods and Style<br /> *11a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *11b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *11c Trans_Stud_Problems_and_Methods_翻译学问题与方法<br /> <br /> 12 Dec 15 Theory and Practice <br /> *12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *12b Theory and Practice Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *12c Theory and Practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> <br /> 13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> *13a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *13b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *13c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *13d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> *13e Art or Science? Different papers by Huang Zhending Trans_Stud_Art_and_Scient_Theory_翻译学艺术论与科学论的统一<br /> <br /> 14 Dec 29 East-West Comparison<br /> *14a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *14b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> 15 Jan 5 Review in Preparation of final exam<br /> <br /> 16 Jan 12 Final Exam<br /> <br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Final exam class projects==<br /> <br /> Please help to edit one of the following book publications (please write your name behind the topics and organize the book with a proposal for the press and a chapter in the form of a journal paper by each participant):<br /> *[[History of Translation Studies]] (Sample from last year.)<br /> *[[History of Translations]] <br /> 刘胜楠 (western translation history in the Middle Age) 李习长 (History of Modern and Contemporary Chinese Translation) 黄柱梁（The Translation of Buddihist Sutra in China） 王镇隆 叶维杰 李雯( The Translation theory after the establishment of the People's Republic of China)李怡(Modern Western Translation History) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Contemporary American Translation History) 周俊辉 周玖 钟雨露 钟义菲 魏楚璇(western translation history in the modern and contemporary Age)<br /> *[[History of Translation Theories]] 李瑞洋（Development of Translation Theories in Modern China）、陈心怡 张扬、曾俊霖 张怡然(History of Translation Theories from early Russia to the Soviet Union) 尹媛（The Brief Introduction of American structural school of translation theory) 李双 杨堃 刘运心 魏兆妍(The Development of Humanism Trend in Western Translation Theory) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江<br /> *[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯 吴映红 肖毅瑶 王李菲 徐敏赟 颜莉莉 颜静 谢佳芬 熊敏 陈惠妮 蔡珠凤 陈湘琼 Nadia<br /> *[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳、罗曦（The translation methods of culture loaded words） 何芩、孙雅诗、杜莉娜（跨文化交际视角下旅游文本中文化负载词的英汉翻译研究）、宫博雅（俄语成语中文化负载词的中文翻译分析）、周小雪(《药》英日译本中文化负载词的翻译对比研究）、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看许渊冲版《鹊桥仙》中文化负载词的翻译)、高蜜、殷慧珍、程杨、胡舒情<br /> *[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍<br /> *[[Appropriateness Theory]] - Ei Mon Kyaw (Creating Appropriateness Theory). I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!Ei Mon Kyaw (Creating Appropriateness Theory). 殷美达 易扬帆（Appropriateness in Lyrics Translation -- A Case Study of Lana Del Rey's Lyrics Translation in QQ Music）<br /> *[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译技巧的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越 毛雅文 毛优（俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例 彭瑞雪 秦建安（功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例） 颜子涵 邝艳丽 阳佳颖 杨柳青<br /> *[[Aesthetic Appreciation of Literary Translations]] 朱素珍 邹岳丽 邱婷婷(Three beauties embodied in Xu Yuanchong's English translation of ''Tang Poetry'') 吴映红(A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics)<br /> *[[Translation Theories Apllied to Literary Translations]] 周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &quot;Jane Eyre&quot; from the Perspective of Functional Equivalence Theory）<br /> *[[Comparative Studies in Translation]] 石丽青 牟一心 饶金盈 罗安怡 马新 王逸凡 张秋怡 朱壬铎<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Schedule==<br /> Please add your name, presentation form (ppt, handout) and subtopic here.<br /> <br /> '''All sessions''': <br /> *1 Sep 26 Introduction<br /> *2 Sep 29 Emergence I<br /> *3 Oct 13 Emergence II <br /> (中国翻译的起源 The Emergence of Translation Studies in China) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. <br /> (机器翻译的起源与发展 The Origin of Machine Translation) ppt by Yan Jing 颜静 and handout by Xu Minyun 徐敏赟.<br /> <br /> *4 Oct 20 History of Translation <br /> (中国翻译简史 The Brief History of Chinese Translation) ppt by Hu Shuqing 胡舒情 and handout by Gong Boya 宫博雅. <br /> (西方翻译简史 The Brief History of Western Translation) ppt by Ding Xuan 丁旋 and handout by Fu Shiyu 付诗雨.<br /> (中国译场中佛经翻译的历史 The History of Buddhist Scripture Translation in Chinese Translation Center) PPT by Ye Weijie 叶维杰 and handout by Wang Zhenlong 王镇隆. <br /> (中国诗歌翻译简史 A Brief History of Chinese Poetry Translation) ppt by Rao Jinying 饶金盈 202120081520 and handout by Mou Yixin 牟一心.<br /> (2000年以来的大中华文库翻译历史 The Translation History of Library of Chinese Classics Since 2000) ppt by Zhang Yang 张扬 and handout by Zeng Junlin曾俊霖.<br /> <br /> *5 Oct 27 Early understanding <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> (佛经翻译的文质之争 The Debates Between Wen and Zhi on Buddhist Scriptures Translation) ppt by He Qin 何芩 202120081489 and handout by Gao Mi高蜜.<br /> (林语堂的翻译 Translation by Lin Yutang) ppt by Xie Jiafen 谢佳芬 and handout by Yan Lili 颜莉莉.<br /> <br /> *6 Nov 3 Linguistics and Equivalence (Nida) &lt;span style=&quot;color:red&quot;&gt;<br /> (J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.<br /> (Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.<br /> (The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.<br /> (Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.<br /> <br /> *6 Nov 10 Translation Studies<br /> (Newmark)ppt by 李姗 and hanout by 李文璇.<br /> (The name and nature of translation studies) ppt by 刘胜楠 and handout by 李怡.<br /> (Jakobson's translation theory) ppt by 熊敏 and handout by 孙雅诗<br /> () ppt by 肖毅瑶 and handout by 吴映红.<br /> (On Lin Yutang's Translation Aesthetics) ppt by 罗安怡 and handout by 石丽青<br /> () ppt by Mahzad Heydarian and hangdout by Mahzad Heydarian.<br /> <br /> *8 Nov 17 Translation Theories <br /> (Translation Theories of Peter Newmark)ppt by 刘晓 and handout by 刘越<br /> (Translation Theories of George Steiner)ppt by 杨柳青 and handout by 殷慧珍<br /> (严复翻译理论 Translation Theories of YanFu) ppt by王李菲 and handout by 魏楚璇.<br /> (The functional translation theory of Reiss and Vermeer)ppt by 彭瑞雪 and handout by 秦建安.<br /> (Traslation Theoires of Xuyuanchong) ppt by 周清 and handout by 邹岳丽.<br /> <br /> *9 Nov 24 History of Chinese Translation Theories <br /> (中国清代翻译理论史History of Chinese translation theories of Qing Dynasty)ppt by Cheng Yang 程杨 handout by Li Shuang 李双<br /> (Theories after 1912) ppt by 邱婷婷 handout by 卫怡雯<br /> (theory of modern China)ppt by 杨爱江 handout by 杨堃<br /> (五四运动时期的翻译理论The Translation Theories During the Period of the May Fourth Movement)ppt by 李雯 handout by 周小雪<br /> <br /> *10 Dec 1 Appropriateness Theory - this is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> *11 Dec 8 Methods and Style<br /> (增译与减译Addition and Omission) ppt by 周玖 and handout by 周俊辉<br /> (Translation of idoms) ppt by刘运心 and handout by李瑞洋<br /> ()ppt by李爱璇 and handout by金晓童<br /> (翻译方法：直译与意译Translation methods---literal translation and free translation) ppt by 钟义菲 and handout by钟雨露<br /> (翻译方法：异化和归化Translation methods: Foreignization and Domestication)ppt by 陈心怡 and handout by陈静<br /> <br /> *12 Dec 15 Theory and Practice. <br /> (The value and limits of Nida's Functional Equivalence Theory in its Application of Literature) ppt by 詹若萱 and handout by 罗曦<br /> (Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by 朱素珍<br /> (An Analysis of Different Versions on the Basis of the Three Beauties of Xu Yuanchong) ppt by 邝艳丽 and handout by 付红岩<br /> (庞德的翻译理论及其在《华夏集》中的应用 Ezra Pound's translation theory and its application in Cathay) ppt by 张秋怡 and handout by 王逸凡<br /> () Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星<br /> <br /> *13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> () ppt by 殷美达 and handout by 张怡然<br /> <br /> *14 Dec 29 East-West Comparison<br /> ()ppt by刘薇 and handout by黄柱梁<br /> ()ppt by魏兆妍 and handout by 吴婧悦<br /> ()ppt by阳佳颖 and handout by 颜子涵<br /> ()ppt by毛雅文 and handout by 毛优<br /> *15 Jan 5 Review in Preparation of final exam<br /> *16 Jan 12 Final Exam<br /> <br /> == Homework from Session 1 Sep 26 due on Sep 29, 2021 ==<br /> <br /> 1. Take the survey after session 1: http://bit.ly/EU-SURVEY<br /> <br /> 2. Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2. (Will be added later.)<br /> <br /> 3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 4. Help a fellow student to improve his/her translation on that page. The final translation is once more worked over by the teacher, please check your own sentence [[20210929_homework|here]].<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 5. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;, ... It has to be a topic, not yet chosen by any other student in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> =Session 2, Sep 29: Emergence I=<br /> *Teacher presentation<br /> *Survey http://bit.ly/Eval-01<br /> *Please select a topic to do a ppt or handout on<br /> *Review homework<br /> *Prepare final exam<br /> <br /> ===Homework for this session Sep 29===<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 2 (Emergence I)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> ==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==<br /> *Teacher presentation: [[Media:Emergence_I.pptx|Teacher presentation on the Emergence of Translation]] by Martin Woesler --[[User:Root|Root]] ([[User talk:Root|talk]]) 11:44, 13 October 2021 (UTC)<br /> <br /> ==Homework for next session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. Please write your name behind one of the [[Introduction_to_Translation_Studies_2021#Final_exam_class_projects|book projects]] where you want to write a chapter as your final exam paper. Also indicate the topic of your chapter in this book project.<br /> <br /> 5. (Only for students who do presentation on Oct 13: Emergence II (中国新时期翻译研究发展的起源 The origin of translation studies in China in the new Era) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. (Emergence of Oral Interpretation) ppt by Shan Gongfei:) Prepare ppt or handout.(机器翻译的起源 The Origin of Machine Translation) handout by Xu Minyun 徐敏赟 202120081535 and powerpoint by Yan Jing 颜静 202120081536.<br /> <br /> =Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=<br /> ==Homework for this session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> ==Presentations in Session 3, Emergence of Translation II==<br /> <br /> *ppt: [[Media:03 Emergence of translations in China by Xie Qinglin.pptx|Presentation on Emergence of translation study in China 中国翻译的起源]] by Chen Xiangqiong 陈湘琼; handout [[Media:03_Xie_Qinglin_Emergence_of_translations_in_China.docx|Emergence of translation studies in China]] by Xie Qinglin 谢庆琳<br /> <br /> Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.<br /> <br /> *ppt: [[Media:The_Origin_of_Machine_Translation_by_Yan_Jing.pptx|Presentation on Origin of Machine Translation 机器翻译的起源与发展]] by Yan Jing 颜静; handout [[Media:The_Origin_of_Machine_Translation_by_Xu_Minyun.docx|Origin of Machine Translation handout]] by Xu Minyun 徐敏赟<br /> <br /> Tip: This topic is also very modern, it should be presented at the end of the semester.<br /> <br /> ==Homework for next session Oct 20==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> =Session 4, Oct 20, Topic 3=<br /> ==Homework for this session Oct 20==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 4<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.<br /> <br /> ==Presentations on History of Translation, session 4==<br /> * ppt: [[Media: The brief history of western translation_by_Ding_Xuan.pptx|Presentation on The brief history of western translation]] by Ding Xuan; handout [[Media:The brief history of Western translation.doc| The brief history of western translation]] by Fu Shiyu<br /> *ppt: [[Media: The brief history of Chinese translation.pptx|Presentation on The brief history of Chinese translation]] by Hu Shuqing; handout [[Media:The brief history of Chinese translation_by_Gong_Boya.doc| The brief history of Chinese translation]] by Gong Boya<br /> * ppt:[[Media: A brief history of Chinese poetry translation.pptx|Presentation on A brief history of Chinese poetry translation]] by Rao Jinying; handout: [[Media: A brief history of Chinese poetry translation.doc| A brief history of Chinese poetry translation]] by Mou Yixin<br /> * ppt:[[Media: The Translation history of Library of Chinese Classics Since 2000.pptx|Presentation on The Translation history of Library of Chinese Classics Since 2000]] by Zhang Yang; handout: [[Media: The Translation history of Library of Chinese Classics Since 2000_by_Zeng_Junlin.doc| The Translation history of Library of Chinese Classics]] by Zeng Junlin<br /> * ppt:[[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.pptx|Presentation on The History of Buddhist Scripture Translation in Chinese Translation Center]] by Ye Weijie; handout: [[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.docx| The History of Buddhist Scripture Translation in Chinese Translation Center]] by Wang Zhenlong<br /> <br /> ==Homework for next session Oct 27==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> =Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=<br /> ==Homework for this session Oct 27==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> ==Presentations Oct 27 on Early Understanding==<br /> <br /> * Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions about principles, strategies etc.<br /> <br /> * ppt: [[Media: Tranlation by Lin Yutang.pptx|Translation by Lin Yutang]] by Xie Jiafen; handout [[Media: Tranlation by Lin Yutang(handout).docx| Translation by Lin Yutang(handout)]] by Yan Lili<br /> * ppt: [[Media: The Debates Between Wen and Zhi on Buddhist Scriptures Translation.pptx|The Debates Between Wen and Zhi on Buddhist Scriptures Translation]] by He Qin; handout [[Media: The Wen-Zhi Debate in the history of sutra translation (handout).docx| The Wen-Zhi Debate in the History of Sutra Translation (handout)]] by Gao Mi<br /> <br /> ==Homework for next session 6, Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6, Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> <br /> =Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=<br /> ==Homework for this session Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6 Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 3 on Linguistics and Equivalence(Nida)==<br /> <br /> * ppt: [[Media:J.C.Catford's Translation Equivalence Theory(ppt).pptx|J.C.Catford's Translation Equivalence Theory(ppt)]] by Huang Yiyan; handout [[Media:Translation Equivalence Theory.docx|J.C.Catford's Translation Equivalence Theory]] by Huang Jinyun<br /> * ppt: [[Media:Two Types of Equivalence by Eugene A. Nida(ppt).pptx|Two Types of Equivalence by Eugene A. Nida(ppt)]] by Du Lina; handout [[Media: Two Types of Equivalence by Eugene A. Nida.docx|Two Types of Equivalence by Eugene A. Nida]] by Ma Xin<br /> * ppt: [[Media:The Three Essences of Functional Equivalence and Its Application.pptx|The Three Essences of Functional Equivalence and Its Application]] by Yi Yangfan; handout [[Media: The Three Essences of Functional Equivalence and Its Application.docx|The Three Essences of Functional Equivalence and Its Application]] by Yin Yuan<br /> * ppt: [[Media:Eugene Nida ‘s Principles of Correspondence Theory(ppt).pptx|Eugene Nida ‘s Principles of Correspondence Theory(ppt)]] by Chen Huini; handout [[Media:Eugene Nida ‘s Principles of Correspondence Theory.docx|Eugene Nida ‘s Principles of Correspondence Theory]] by Cai Zhufeng<br /> <br /> ==Homework for next session 7, Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7, Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.<br /> <br /> 5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!<br /> *[[20220112_final_exam|Final Exam paper page]]<br /> <br /> =Session 7, Nov 10, Topic 6 Translation Studies=<br /> ==Homework for this session Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7 Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 10 on Translation Studies==<br /> <br /> * ppt 1: [[Media:The Name and Nature of Translation Studies(ppt).pptx|The Name and Nature of Translation Studies(ppt)]] by Liu Shengnan; handout [[Media: The Name and Nature of Translation Studies.docx| The Name and Nature of Translation Studies]] by Li Yi<br /> <br /> * ppt 2: [[Media:Five Approaches to Translation.pptx|Five Approaches to Translation]] by Li Wenxuan; handout [[Media:Five Approaches to Translation(handout).docx|Five Approaches to Translation()]] by Li Shan<br /> <br /> * ppt 3: [[Media:Principles of Translation(ppt).pptx|Principles of Translation(ppt)]] by Xiao Yiyao; handout [[Media:Principles of Translation.docx|Principles of Translation]] by Wu Yinghong<br /> <br /> * ppt 4: [[Media:Cultural and Ideological Approaches in Translation(ppt).pptx|Cultural and Ideological Approaches in Translation]] by Mahzad Heydarian; handout [[Media:Cultural and Ideological Approaches in Translation.docx| Cultural and Ideological Approaches in Translation ]] by Mahzad Heydarian<br /> <br /> * ppt 5: [[Media:Roman Jacobson's Categories of Translation(ppt).pptx|Roman Jacobson's Categories of Translation(ppt)]] by Xiong Min; handout [[Media: Roman Jacobson's Categories of Translation.docx| Roman Jacobson's Categories of Translation]] by Sun Yashi<br /> <br /> * ppt 6: [[Media:Lin Yutang' s Translation Aesthetics(ppt).pptx|Lin Yutang' s Translation Aesthetics]] by Luo Anyi; handout [[Media:Lin Yutang' s Translation Aesthetics.docx| Lin Yutang' s Translation Aesthetics]] by Shi Liqing<br /> <br /> ==Homework for next session 8, Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 6 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> =Session 8, Nov 17, Translation Theories =<br /> ==Homework for this session Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 7 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 17 on Translation Theories==<br /> * ppt 1: [[Media:Translation Theories of George Steiner(ppt).pptx|Translation Theories of George Steiner(ppt)]] by Yang Liuqing 杨柳青; handout [[Media: Translation Theories of George Steiner.docx| Translation Theories of George Steiner]] by Yin Huizhen 殷慧珍<br /> * ppt 2: [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord(ppt).pptx|The Functional Translation Theory of Reiss, Vermeer and Nord(ppt)]] by Peng Ruixue 彭瑞雪; [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx|The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx]] by Qin Jianan 秦建安. <br /> * ppt 3: [[Media:Translation Theories of Peter Newmark.pptx|Translation Theories of Peter Newmark]] ppt by Liu Xiao 刘晓; [[Media:Translation Theories of Peter Newmark.docx|Translation Theories of Peter Newmark .docx]] handout by Liu Yue 刘越.<br /> <br /> * ppt 4:[[Media:Yan Fu's Translation Thoughts(ppt).pptx|Yan Fu's Translation Thoughts(ppt)]] by Wang Lifei 王李菲; handout [[Media: Yan Fu's Translation Thoughts.docx| Yan Fu's Translation Thoughts]] by Wei Chuxuan 魏楚璇<br /> * ppt 5: [[Media:Translation of Xu Yuanchong.pptx|Translation theorie of Xu Yuanchong]] ppt by Zhouqing周清; [[Media:Translation of Xu Yuanchong.docx|Translation theorie of Xu Yuanchong]]handout by Zou Yueli邹岳丽.<br /> <br /> ==Homework for next session 9, Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> =Session 9, Nov 24, History of Chinese Translation Theories =<br /> <br /> ==Homework for this session Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 24 on Chinese Translation Theories ==<br /> * ppt 1: [[Media:The History of Chinese Translation Theories in Qing Dynasty(ppt).pptx|The History of Chinese Translation Theories in Qing Dynasty(ppt)]]ppt by Cheng Yang 程杨 and [[Media: The History of Chinese Translation Theories in Qing Dynasty.docx| The History of Chinese Translation Theories in Qing Dynasty]]handout by Li Shuang 李双. <br /> * ppt 2: [[Media:The History of Chinese Buddhist Translation Theories(ppt).pptx|The History of Chinese Buddhist Translation Theories(ppt)]] by Qiu Tingting邱婷婷; handout [[Media: The History of Chinese Buddhist Translation Theories.docx| The History of Chinese Buddhist Translation Theories]] by Wei Yiwen 卫怡雯 <br /> * ppt 3: [[Media:The Chinese Translation Theories During the Period of the May Forth Movement(ppt).pptx|The Chinese Translation Theories During the Period of the May Forth Movement(ppt)]]by Li Wen 李雯; [[Media: The Chinese Translation Theories During the Period of the May Forth Movement.docx|The Chinese Translation Theories During the Period of the May Forth Movement]] handout by Zhou Xiaoxue 周小雪<br /> * ppt 4: [[Media: The History of Chinese Translation Theories from 1949 to Present(ppt).pptx|The History of Chinese Translation Theories from 1949 to Present(ppt)]]by Yang Aijiang 杨爱江 [[Media: The History of Chinese Translation Theories from 1949 to Present.docx|The History of Chinese Translation Theories from 1949 to Present]] handout by Yang Kun 杨堃<br /> <br /> ==Homework for next session 10, Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> =Session 10, Dec 1, Appropriateness Theory=<br /> This is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> ==Homework for this session Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 1==<br /> * handout 1: [[Media: Appropriateness Theory.docx| Appropriateness Theory]] by Ei Mon Kyaw 艾梦觉 <br /> * ppt 1: [[Media:Appropriateness Theory(ppt).pptx|Appropriateness Theory(ppt)]] by Yin Meida殷美达;<br /> <br /> ==Homework for next session 11, Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> =Session 11, Dec 8, Methods and Style=<br /> ==Homework for this session Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 8 on Methods and Style==<br /> <br /> * ppt 1: [[Media:The Literal Translation and Free Translation(ppt).pptx|The Literal Translation and Free Translation(ppt)]] by Zhong Yifei钟义菲; handout [[Media: The Literal Translation and Free Translation.docx| The Literal Translation and Free Translation]] by Zhong Yulu钟雨露.<br /> * ppt 1: [[Media:The Amplification and Omission in Translation(ppt).pptx|The Amplification and Omission in Translation(ppt)]] by Zhou Jiu周玖; handout [[Media: The Amplification and Omission in Translation.docx| The Amplification and Omission in Translation]] by Zhou Junhui周俊辉.<br /> * ppt 3: [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt).pptx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt)]] by Li Aixuan李爱璇；handout [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example.docx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example]] by Jing Xiaotong金晓童.<br /> * ppt 4: [[File:Translation Methods of Idioms.pptx|Translation Methods of Idioms(ppt)]] by Liu Yunxin 刘运心; handout [[File:Translation Methods of Idioms.docx|Translation Methods of Idioms(handout)]] by Li Ruiyang 李瑞洋<br /> <br /> ==Homework for next session 12, Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> =Session 12, Dec 15, Theory and Practice.=<br /> <br /> ==Homework for this session Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 15 on Theory and Practice==<br /> (Catford Translation Shift Theory and Its Practice) ppt by 周巧 and handout by 朱素珍.（The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature）handout by 罗曦 202120081512；PPT by 詹若萱 202120081549<br /> * ppt 1: [[Media:Catford Translation Shift Theory and Tts Practice(ppt).pptx|Catford Translation Shift Theory and Its Practice(ppt)]] by Zhou Qiao 周巧; handout [[Media:.docx| Catford Translation Shift Theory and Its Practice|Catford Translation Shift Theory and Its Practice ]] by Zhu Suzhen 朱素珍.<br /> <br /> ==Homework for next session 13, Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> =Session 13, Dec 22, Decriptive Studies, Culture, Invisibility, Constructivism=<br /> <br /> ==Homework for this session Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==<br /> <br /> ==Homework for next session 14, Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> =Session 14, Dec 29, East-West Comparison=<br /> <br /> ==Homework for this session Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 29 on East-West Comparison==<br /> <br /> ==Homework for next session 15, Jan 5==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 15<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210105_homework|homework of session 14 for session 15, Jan 5]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Jan 5:) Prepare ppt or handout.<br /> <br /> =Session 15, Jan 5, Review in Preparation of final exam=<br /> <br /> =Session 16, Jan 12, Final Exam=<br /> <br /> <br /> =Samples from last year: 人类起源 The emergence of translation and interpretation=<br /> Please note: All the sessions (2-16) here are copies of the 2020 course. <br /> <br /> You can have a look how the fellow students did it last year, <br /> <br /> but you have to write everything new here for 2021.<br /> <br /> *Teacher presentation<br /> <br /> *Student presentations<br /> <br /> OLD (2020):<br /> <br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|Qi Kai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> ==Session 7: Western theories==. 周巧 presentation PowerPoint 朱素珍 handout Cat ford Translation Shift Theory<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> ==Session 8: Methods==<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> ==Session 9: Style==<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> ==Session 10: Translation Studies==<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> ==Session 11: Theory and Practice==<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> ==Session 12: Different Aspects==<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> ==Session 13: East West comparison==<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> ==Session 14: Strategies==<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> ===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===<br /> <br /> Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) <br /> <br /> Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)<br /> <br /> ===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &quot;Snow Country&quot; as an Example===<br /> <br /> Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.docx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.pptx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> ==Session 15: Contemporary Translation Theories==<br /> <br /> ===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201228_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].<br /> <br /> <br /> ===Topic 1 Contemporary Translation Theories ===<br /> <br /> Classroom handout for download: [[Media:Contemporary Translation Theories.docx]] <br /> <br /> <br /> Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]] <br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)<br /> <br /> ==Session 16: Final Discussion==<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT<br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Website to write your final exam paper on==<br /> [[20220112_final_exam|final exam page]]<br /> <br /> As a reference, here is the information about last year's final exam papers:<br /> <br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> Here you can write your Final Exam Papers:<br /> <br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.<br /> <br /> =Misplaced things=<br /> Handout 4 of Ren Xin --<br /> 贺骥.“世界文学”概念:维兰德首创：<br /> Summary： 主要讲述了人们发现维兰德首次提出“世界文学”的过程，维兰德对“世界文学”的概念以及与歌德的比较。<br /> <br /> 一、为何说维兰德首创“世界文学”？<br /> 1987 年，德国学者魏茨( Hans-Joachim Weitz，1904—2001) 在《阿卡迪亚》杂志上发表了一篇题为《维兰德是“世界文学”一词的首创者》的短文。魏茨声称他发现了德国作家维兰德( Christoph Martin Wieland，1733—1813) 在1790 至1813 年间亲笔书写的一则手记中首次提到“世界文学”。但维兰德于1813 年1 月20 日去世，他的同时代人并不知道他写有这则手记，歌德在不知情的情况下从1827 年1 月15 日起多次使用了“世界文学”这个词。维兰德与歌德对于“世界文学”的概念相近，但他没有详细论证。所以说，“世界文学”一次是维兰德首创，歌德第一次明确提出的<br /> 二、维兰德“世界文学”的概念与歌德的比较<br /> 1. 维兰德在创作早期作品时：世界文学就是世界各民族的文学名作的总集。该观点体现在《民族文学》文学是世界各民族的共同精神财富，世界文学就是所有时代所有民族的典范作品总集。<br /> 2. 和歌德一样，维兰德的世界文学概念带有言必称希腊的欧洲中心主义色彩，他的世界文学乃是以古希腊罗马文学为正典、以欧洲文学为核心的世界各民族文学经典的总集。“阅读最优秀的作家的杰作”乃是维兰德“世界文学”概念的核心: 杰作即古往今来世界各民族的文学经典。<br /> 3. 维兰德认为优秀作品的形成过程: 首先作家必须以阅世高人的文化修养和娴熟的艺术技巧创造有审美价值的“文学杰作”；其次是后世“最优秀的人们”对这些杰作的“宣扬”和“奉为样板”。<br /> <br /> 三、“世界文学”概念有三种定义: <br /> ( 1) 广义的“世界文学”指的是所有民族和所有时代文学作品的总和( Gesamtliteratur) ; <br /> ( 2) 狭义的“世界文学”指的是超时代的、具有普遍审美价值的世界各民族文学的典范作品总集( Kanon) ，换言之，“世界文学”就是具有世界声誉的文学杰作的荟萃，这种精英主义意义上的“世界文学”概念在当今学界占据了主导地位; <br /> ( 3) 歌德于1827 年提出的文学发展蓝图，它指的是国际性的文学交往( Kommunikation der Literatur) 和文化接触，交往的结果就是具有特性的各民族文学的融合。<br /> <br /> Reference: <br /> 贺骥.“世界文学”概念:维兰德首创[J].社会科学,2014(07):176-182. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:24, 13 April 2018 (UTC)<br /> <br /> <br /> <br /> [1]文飙.阿拉伯民间文学的珍品《一千零一夜》.<br /> 1.流传情况： <br /> 《一千零一夜》早在公元六世纪左右已在波斯、伊拉克和埃及产生并流传着。公元十世纪阿拨斯王朝统治时代汇集成书,后又经过数百年不断搜集、整理、加工和修改；大约到十六世纪才形成比较完整的总集。<br /> 2.故事发生的地点：多在当时阿拉伯世界两大中心城市— 巴格达及开罗。<br /> 3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：<br /> 这个译名的来源说明中世纪时期阿拉伯帝国与中国的关系。阿拉伯半岛的麦加城在帝国中称为“ 圣城”, 城内有古庙名“ 天房”, 中国古嫂都译为“ 天方”, 实即“ 天房”之误。我国明朝以前称阿拉伯为黑衣大食国，明朝以后则称为“ 天方国”, 这就是旧译本称为《天方夜谭》的原因。<br /> 4.故事内容： 《一千零一夜》是一部包罗万象的民间故事集, 有格言、谚语、童话, 王子公主的恋爱故事, 及市民冒险故事。这些故事的主角从底层的劳苦大众到最高的统治者哈里发。能够比较全面而深刻地反映中世纪东方的社会生活。<br /> 5.《一千零一夜》的起源：<br /> 在古代印度和中国为海岛中,有一个萨桑国。残暴的国王山鲁亚尔每夜娶一王后,翌晨即杀掉再娶。老百姓受此威胁,十分恐怖,纷纷携儿带女逃走,致使城中十室九空。然而国王仍照例命令宰相寻找女子供他虐杀。一天，宰相找遍民间，没找到一个,便满怀恐惧、忧郁地转回府邸来。宰相的大女儿山鲁佐德见父亲情状,问明情由,执意让父亲把她嫁给国王,宰相不得已才把女儿送进宫去。山鲁佐德一见国王,就悲伤地哭泣起来，她希望国王允许她在死之前能和妹妹再见一面,国王同意了,派人到宰相家召敦亚佐德进宫。姐妹俩高高兴兴地坐在床脚下谈笑。其时,敦亚佐德请求姐姐讲个故事消磨时间。山鲁佐德便征得国王许可,开始讲起故事来,借以引动国王的好奇心和兴趣,从而免遭杀戮。这样,日复一日,山鲁佐德一直讲了一千零一个夜晚,最后，终于使国王悔悟。<br /> 6.影响：<br /> 《一千零一夜》在世界各国广为传播。<br /> 它最早介绍到欧洲,对西方文化起过一定的积极作用,许多欧美文学艺术家,如但丁、乔叟、薄伽丘、莎士比亚、塞万提斯、莱辛等都或多或少地受到它的直接或间接的影响。 <br /> 在我国，早在六十多年以前就有了《一千零一夜》的译本。<br /> <br /> <br /> [2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.<br /> 摘要：《一千零一夜》对世界文学的借鉴与影响。荷马史诗中的巨人故事对《一千零一夜》的启发 ,《一千零一夜》对法国、英国、德国、中国作家的影响。 <br /> 一、流传情况：<br /> 1.流传时间：多数学者认为:它的故事和手抄本在中近东地区开始流传的年代约在8 世纪中叶—9 世纪中叶。一些世界文学史家则认为:大约在十字军东征时期(1095— 1291), 《一千零一夜》的故事已通过民间传到欧洲。<br /> 2.流传情况： <br /> a. 18 世纪初, 法国人加朗根据叙利亚抄本, 首次把《一千零一夜》译成法文出版, 以后在欧洲出现了各种文字的译本。<br /> b. 中国1900 年有过译本, 以后不断的出现多种白话文本。新中国成立后, 纳训选译的3 卷本以及80 年代出版的全译本1 —6 卷, 收集了275 个故事。<br /> 二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴<br /> 《一千零一夜》第4 卷第172 个故事《辛伯达航海的故事》写三次航海的故事, 可以看出受到古希腊荷马史诗《奥德修纪》中独眼巨人故事的影响, 又带有阿拉伯民族的特色。<br /> 三、《一千零一夜》对世界文学的影响：<br /> 1.文艺复兴人文主义作家对《一千零一夜》中故事的扬弃与创新<br /> a)法国：《一千零一夜》第2 卷第75 个故事《阿里·艾尔哲明的故事》与法国文艺复兴时期拉伯雷《巨人传》中第三代国王庞大固埃出生时的行囊装载十分相似。<br /> b)英国：在《一千零一夜》第3 卷第152 个故事的《亚历山大大帝和弱小民族的故事》与英国文艺复兴时期的作家莎士比亚的《哈姆雷特》中有类似的情节，两个故事有历史延续性与巧妙的联系。<br /> 《一千零一夜》：<br /> 东征西讨的希腊国王亚历山大,一次路过一个弱小国家, 其民众各自门前准备好了坟墓, 家家一贫如洗, 安贫乐道, 所以并不怕亚历山大来争夺地盘。亚历山大十分好奇, 亲自见他们的国王。国王拿了两个头骨, 告诉他这是两个国王的头骨, 一个生前暴虐, 死后安拉让他下地狱;一个生前公正廉明, 爱护百姓, 死后安拉让他升入天堂。国王又问亚历山大:“ 到底你是这两个帝王中的哪一个呢?”年青的亚历山大受了感动, 要这个国王做他的宰相。国王拒绝了他, 说他虽拥有一个大帝国, 却有许多仇敌。国王虽穷, 他所有的一切“ 仅仅是知足” 。亚历山大感慨万千,告辞归去, 不再侵犯他们。<br /> 《哈姆雷特》：第五幕第一场墓地对话中 <br /> 哈姆雷特面对死人头骨说道:“ 要是我们用想像推测下去, 谁知道亚历山大的高贵的尸体, 不就是塞在酒桶口上的泥土?”“ 凯撒死了, 你尊严的尸体, 也许变了泥把破墙填砌, 啊! 他从前是何等的英雄, 现在只好替人挡风遮雨。”<br /> c)意大利：意大利文艺复兴时期的小说家卜伽丘的《十日谈》中的贵妇宴请国王吃鸡宴, 以打退国王邪念的故事, 在《一千零一夜》第4 卷第175 个故事《宰相夫人的故事》中有类似情节。<br /> 2.对18 世纪英国现实主义小说家笛福《鲁宾逊飘流记》的影响<br /> 把《辛伯达航海的故事》与《鲁宾逊飘流记》相比较, 辛伯达可以说是鲁宾逊典型的雏型与前身, 鲁宾逊则更加丰富, 更带时代特点。<br /> 1)不同点： <br /> 辛伯达是中世纪阿拉伯人中积极进取, 发展海外贸易,不断向外开拓勇于冒险的新兴商人, 他开初坐享父亲遗产,挥霍一空, 最后决定变卖家产七次到海上做冒险生意。<br /> 鲁宾逊是18 世纪英国资本主义原始积累时期的新资产阶级商人的代表, 父亲没有给他丰厚的资产, 他本人是不满现状的小商人, 三次海外冒险；<br /> 辛伯达是在第7次航海时在一个岛国居住了27 年才返回故乡, 鲁宾逊是在第三次航海时在一个荒岛上度过了28 年, 才返回故乡。<br /> 2)相似点：<br /> 两人都曾遭到过毁灭性的打击, 死里逃生,但每次都以顽强的毅力, 惊人的应变能力, 沉着应付, 化险为夷；发财致富的欲望, 对海外世界的好奇与向往, 每次都促使他们不安现状, 敢于做一次又一次的冒险。<br /> 3.对中国作家的影响<br /> 《一千零一夜》第1 卷第12 个故事《脚夫和巴格达三个女人的故事》中，脚夫诵的表达自己忠信的诗同中国现代作家钱钟书的长篇小说《围城》中的苏小姐自己写的诗相似。这里已改造成一首爱情诗, 方鸿渐当时并不知道是苏小姐自己写的诗, 说这首诗是借的外债,<br /> 四、小结<br /> 因为国别不同, 语言不通, 翻译技术有限，后来的作家们不一定能亲自看到这些《一千零一夜》中的故事原文。但阿拉伯文化与文学对欧洲文艺复兴运动及后来的世界文学的发展起到的推动作用和所作的贡献是世界发展史上所公认的事实。<br /> <br /> <br /> [3]陆英英.《一千零一夜》在欧洲.<br /> 摘要： 介绍了欧洲许多国家早期对《一千零一夜》的译本。《一千零一夜》译成欧洲各种文字后, 引起了欧洲人收集和研究东方文学的热望, 激起了他们了解东方的兴趣。《一千零一夜》对欧洲文学包括戏剧、小说、诗歌、诗剧都产生了巨大影响。<br /> 1.法国译本：<br /> A.1704-1717年出现的法国安东尼·加仑的译本是《一千零一夜》——最著名的译本。为了迎合读者掺杂了许多自己想象的情节<br /> B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版<br /> C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作<br /> 2.英国译本（几乎都是从法国译本转译而来）： <br /> A.1811年乔纳森·斯科特出版的译本 —— 最突出<br /> B.1838年，亨利·托伦斯打算给译文加注释, 但他只译了五十夜就死了<br /> C.1839-1841年，爱德华·威廉·莱恩的《一千零一夜》三卷本（从阿文直译），删去了当时英国的道德传统所不能接受的故事, 并写了许多注释 —— 极具参考价值<br /> D.1885年，理查德·伯顿的译本出版 —— 最完备的译本<br /> E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩<br /> 3.德国译本：<br /> A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。<br /> B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩<br /> C.东方学家莱塔马教授 —— 德国最著名的译本<br /> 4.罗马尼亚译本：<br /> A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早<br /> B.1783年，修道院主教罗法伊勒出版了根据希腊文译出的全译本<br /> C.1835-1838年格拉西姆·哥嘉出版《哈利曼或者阿拉伯神话故事》四卷本译本<br /> D.1966-1976，罗马尼亚最大出版社——梅纳法出版社出版了十四卷本的《一千零一夜》<br /> 5.俄文译本：<br /> A.萨利尔译的，东方学家卡利姆斯基出版的。<br /> B.高尔基于1904年也译过。<br /> C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。<br /> 6.捷克译本：<br /> 1958-1963年捷克斯洛伐克科学院出版的塔瓦外孜授译的《一千零一夜》全集。<br /> 7.波兰译本：<br /> 1774年出版了第一本——《阿拉伯传奇或一千零一夜》<br /> 8.威尼斯译本：<br /> 1757-1762年，出版了四卷本的《一千零一夜》和《一千零一日》故事集, 书名为《阿拉伯故事》。<br /> 9.希腊译本：<br /> 译者为布利兹威斯，译本分三卷。<br /> 10.此外还有葡萄牙语、荷兰语、丹麦语、瑞典语、匈牙利语等译本。<br /> 东方学家朝温在《阿拉伯著作一览》一书中用了一百二十页专门介绍《一千零一夜》的各种版本和文本。<br /> <br /> 参考文献：<br /> [1]文飙. 阿拉伯民间文学的珍品《一千零一夜》[J].徐州师范学院学报,1978(02):59-64.<br /> [2]冯辉. 略论《一千零一夜》对世界文学的借鉴与影响[J].河南教育学院学报(哲学社会科学版),2001(01):110-112.<br /> [3]陆英英.《一千零一夜》在欧洲[J].阿拉伯世界,1983(02):84-90. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:34, 16 April 2018 (UTC)<br /> <br /> <br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> <br /> 摘要： 中国翻译史的源头是佛经翻译，而西方翻译史则始于另一部宗教巨著———圣经翻译。中国的佛经翻译和西方的圣经翻译虽然在具体内容、翻译分期、信徒和对应的时代背景等方面有所差异，但两者都经历了直译、意译、直意译相结合的发展历程。本文对比了佛经翻译和圣经翻译，探求宗教类文献翻译中的共同特点。<br /> 1.佛经翻译<br /> A.四个时期：<br /> a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；<br /> b.初步发展阶段是（晋代到隋朝），代表人物有道安和鸠摩罗什；<br /> c.鼎盛时期（唐朝），代表人物为玄奘、不空；<br /> d.逐渐结束于北宋。<br /> B.翻译形式<br /> 最初由西域僧人的梵语口授，再找汉人加以润饰。音译。<br /> 后来出现精通汉语的印度高僧和熟练掌握梵语的中国高僧。直译为主。<br /> C.翻译大家<br /> 三藏法师，从数量和翻译成就都无人能比。直译&amp;意译结合。<br /> 2.圣经翻译<br /> A.概况<br /> 圣经翻译是西方翻译史的起源。经历了希伯来文－希腊文－拉丁文的过程。<br /> B.流传形式：手写本。<br /> C.最早的圣经译本：公元前3-2世纪《圣经·旧约》（据《西方翻译简史》记载。后世也叫《七十子希腊文本》。<br /> 缺点：用词晦涩难懂，不易理解，跟当时的希腊语有较大的出入。<br /> 优点：此译本特别完整准确地还原了圣经原籍的内容。<br /> D.翻译大家：a. 西塞罗—西方翻译史上最早的翻译理论家，主张活译。<br /> b. 圣哲罗姆—翻译了第一部标准拉丁语圣经。直译和意译相结合。<br /> 3.佛经翻译和圣经翻译的相似性：<br /> 经历了直译—意译—直意译结合的过程。<br /> A.最初翻译时，中西译者都是逐字逐句的直译。<br /> 原因：宗教经典神圣不可侵犯，译经僧侣对宗教经典抱有虔诚态度；<br /> 由于译者身份的局限性，缺乏专业的语言翻译基础。<br /> B.随着经验的累积，译者们开始倡导意译。<br /> 代表人物：马丁路德<br /> 原因：受众人群都是普通老百姓，需要简单流畅、明晓易懂的语言才能让教义被大众所通晓。<br /> C.主张直译&amp;意译相结合。<br /> 代表人物：玄奘大师—《钦定本圣经》<br /> <br /> <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> <br /> 摘要：作者认为比利时学者安德烈勒菲弗尔（当代文学翻译学术带头人，较有影响力）由于对中国翻译史缺乏深入研究，对中国的佛经翻译了解不透彻，在《中西方翻译思想比较》中提出“西方译者更为忠实原文, 而中国译者则倾向于归化原文”的观点较为片面。并提出佛经翻译和圣经翻译的共有规律：直译、意译两原则交替主导翻译活动并趋于成熟，直至最终实现两者的有机融合。<br /> <br /> <br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> 摘要：《圣经》翻译的主要功能是服务于宗教的传播。但译者们对其“创造性叛逆”的翻译，使得《圣经》对世界各民族语言，包括对中国语言文学都产生了深远影响，同时推动各国文化交流、促进不同思想的包容。<br /> <br /> 1.翻译不只是语言文字的转换，而是应关注原文在外语和本族语转换过程中的信息的失落、变形、增添、扩散等问题。<br /> 2.《圣经》翻译对西方各国（民族）语言的影响 —— 不分析译本翻译的好坏，而是分析译本对译入语国家或民族的文化和语言所产生的影响。<br /> A.4世纪，乌裴拉主教翻译成东日耳曼语。<br /> 8、9世纪，阿尔弗雷得等翻译成古英语。<br /> 这些标志着民族语言翻译的开始。<br /> B.《圣经》翻译在13世纪达到了新的高潮。<br /> C.马丁路德：把《圣经》新约和旧约翻译成德语，并且翻译成能被大众所接受的语言。他认为翻译就是让外语成为译者的本土化语言。<br /> 作用：消除了普通人对《圣经》的语言障碍，对统一德语和发展德语做出贡献。<br /> D.威廉廷代尔的译本成为英国翻译史上最著名的英王钦定本的主要参照本。<br /> 作用：完全符合英语的用法习惯，增加了英语的表现力；<br /> 对英国散文、语言和文化发展起到了不可估量的作用。<br /> 3.《圣经》在汉译中的创造性叛逆<br /> A.创造的叛逆性翻译是为了使《圣经》在新的环境中易于被受众接受。<br /> B.特征：<br /> a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。<br /> 吴经熊翻译的《新约全集》:“天主聖子耶穌基督福音之濫觴，正如《意灑雅先知書》之所記云:吾遣使者，以先啟行; 為爾前驅，備爾行程。”<br /> b.误译：严复的译本以中国士大夫为主要读者，因此他的译本符合士大夫的价值观，同时也降低阅读难度。<br /> c.改编或删节：严复考虑到中国读者几千年来的儒家文化熏陶，迎合中国道德伦理和文化。<br /> 4.《圣经》汉译对中国语言文学的影响<br /> a.丰富了汉语词汇，为现代汉语带来许多新意象和表达方式。如，天堂、伊甸园等。<br /> b.影响中国现代文学的创作主体，许多意象来源于《圣经》中的典故。<br /> c.影响许多中国著名的作家和文学理论家。如，鲁迅、冰心、徐志摩等。<br /> <br /> <br /> [4] 曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23.<br /> <br /> 《圣经》中包含的男权思想：<br /> 1.创世纪故事中包含的男权思想。<br /> a.在上帝创世的神话中，男性亚当是用象征承载人类生命的泥土按上帝的形象创造出来的，而女性夏娃是作为男性的附属品用亚当的肋骨而创造出来的，目的是为亚当消除孤独寂寞。<br /> b.创世纪故事中，包含“女人是祸水”思想。作为女性象征的夏娃经不住蛇的诱惑，偷吃了禁果，使人类受到上帝的惩罚，开始了苦难。<br /> 2.“圣经故事”中的先知先觉、基督英雄们都是男性。<br /> 人类历史的英雄史都是谱写男性的。整个圣经故事都是以男性英雄为主线而描绘基督教历史的。从最早制造方舟振救人类的挪亚，到带领以色列人出埃及，使以色列人摆脱埃及法老贵族奴役的摩西，到带领以色列人力战外族，为以色列人开缰拓土的约书亚，再到带领以色列人雪耻，赶走外族，使以色列人建国的大卫以及拯救人类的耶稣等等。<br /> 3.婚姻家庭中的男权思想、夫权思想 <br /> a.嫡长子制，忽视女性后代的存在。<br /> b.多妻制。基督英雄们都是妻妾成群，可以主人的身份任意拥有女人。<br /> c.休妻制。女性不论犯不犯错都可能被休。甚至可以被男性当财产、畜生一样送人。<br /> <br /> <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究, 2009(00):35-44.<br /> 摘要：作者认为出现在父权制社会的圣经充满了男性形象和语言，对《圣经》进行重新的诠释，以挑战圣经中的父权制。焦点是希伯来圣经，重点不仅仅落在不利于女性的事例上。 考量了圣经中女性研究的三条女性主义进路。<br /> 1.阐释了一些不利于女性的故事。希伯来女子从生到死都属于男人，遭受到男性权威的虐待、凌辱。<br /> 2.重申被忽视的女性作为上帝的篇章和反抗父权制文化的女性形象。<br /> 3.利用前两种方式，同情地重新讲述关于妇女的故事<br /> （作者菲利斯·特丽波被认为是在圣经文本基础上探索妇女与性别问题的领袖人物）<br /> <br /> <br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.<br /> 女性经验是重新阐释圣经的基点。<br /> 女性主义圣经诠释随着女性神学的繁荣而发展。女性圣经诠释是不同于女性主义神学的独立学科，它具有独立的研究前提和范畴。<br /> 核心内容：对传统的圣经诠释和基督神学所建构的两性关系提出质疑和批判；寻找、重建圣经中被忽视、被遗忘的女性形象，恢复重建女性的地位和尊严；为争取女性在教会中担任圣职而斗争。<br /> <br /> 参考文献：<br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> [4]曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23. <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究,2009(00):35-44.<br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 02:42, 4 June 2018 (UTC)<br /> <br /> <br /> 《霍乱时期的爱情》<br /> 加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物<br /> 1967年，《百年孤独》；1982年， 获诺贝尔奖；1985年，《霍乱时期的爱情》<br /> 故事是以费尔明娜和阿里萨、乌尔比诺医生爱恨悲欢的三角恋为主线，以阿里萨与其余622名女性形形色色的性欲与真情为副线。小说采用了顺时叙述。以乌尔比诺的棋友之死为故事的开始，先后讲述了：医生的婚后生活；阿里萨和费尔明娜如诗如梦的初恋，乌尔比诺追求费尔明娜并与之结婚；阿里萨的失望心情和纵欲寻欢；费尔明娜婚后生活的不快和孀居的孤独；阿里萨耐心点燃费尔明娜心中的爱火。<br /> 一.主要人物：<br /> 1.阿里萨：喜欢阅读、喜欢写诗。多愁善感，阴郁。一生中有过623个女人，但费尔明娜是他一生的挚爱。最后在他并不怎么上心的航运公司里获得了董事长的职位。<br /> “费尔明娜，我等待这个机会，已经有51年9个月零4天了，在这段时间里，我一直爱着你，从我第一眼见到你，直到现在，我第一次向你表达我的誓言，我永远爱你，忠贞不渝。”这句话是在等待了半个世纪终于等到费尔明娜的丈夫死去后，阿里萨在葬礼之后再一次对费尔明娜隔了51年的第二次表白。<br /> 2.费尔明娜：她是骡子商人的女儿，美丽、智慧并且高傲。被阿里萨追求却遭到父亲的强烈反对，后来嫁给医生乌尔比诺。<br /> 3.乌尔比诺医生：擅长治疗霍乱的医生，黄金单身汉，知识渊博，外表帅气（虽然电影里图片很猥琐），热爱城市并致力于为他的城市他的家乡奉献，但实际上骨子里较懦弱，在和费尔明娜的婚姻里婆媳关系不合，他不敢冲撞他的母亲。“只有上帝知道我有多爱你。”<br /> <br /> 二.爱情&amp;霍乱的隐喻关系<br /> 1.在追求费尔明娜的过程中，阿里萨生理和心理都经受了如霍乱症状一般的痛苦。在阿里萨对费尔明娜一见钟情后，“他开始寡言少语，茶饭不思，辗转反侧，彻夜难眠”。<br /> 等待费尔明娜回第一封信的时候“他腹泻，吐绿水，晕头转向，常常突然昏厥，脉搏微弱，呼吸沉重，像垂死之人一样冒着虚汗…”这些症状和霍乱的症状很相似。但事实上阿里萨并没有患上霍乱，后边医生的检查也可以证实。<br /> 所以，我们可以这样认为：爱情，在阿里萨身上的表现就如同霍乱对人的侵袭一样。在这本书中，霍乱也就代表爱情，所有的症状都是变相的爱。<br /> 但不同的是：疾病带来的恐惧是自私的，是从自我角度出发的，是害怕失去自己；而爱情带来的恐惧常常源自于所爱之人，是害怕失去对方。<br /> <br /> 2.在中国古代文学里也有关于爱情对疾病的意象。<br /> 在中国，因爱情引起的疾病叫做“相思病”，一般是因对某人的思念而生病。表现为焦虑、食欲不振、失眠、幻想、晕厥等类似生病的身体状态。<br /> 很著名的例子就是《红楼梦》中的林黛玉人物形象。 还有《西厢记》张生为崔莺莺“为伊消得人憔悴”也是“相思病”的例子。这样的例证还有很多。<br /> 问题：如果爱情是一种病，能致病，那么医生能不能诊断并治愈因爱情引起的疾病呢？<br /> 大家都知道，林黛玉的身体一向比较弱，但是住在大观园中可以让黛玉有很好的物质条件治疗或者从中医角度来讲“调养”她的身体。看当时最好的医生, 吃的是最难得到的药材做成的药。可是在听到宝玉和宝钗成亲的消息后还是郁郁而终。说明在中国的古典文学中，医生并不可以治愈爱情引起的相思病。<br /> 我们再看西方文学里《变形记》——“所有人都知道, 真正的疾病和爱情疾病是很相似的: 意识变得虚弱, 眼神变得憔悴,膝盖变得无力… 上帝啊! 医生们真是无知啊! ”<br /> 还有《霍乱》里，母亲担心阿里萨得了霍乱,去看了医生。做了很多必要的医疗检查, 最后通过对阿里萨的性格了解以及与阿里萨的谈话确定了病因。医生最后能确诊阿里萨的爱情疾病并不是因为他高超的医术或者他的各种医学常识, 而是因为他本人的年纪来带的阅历以及对爱情和对阿里萨的了解得出的结论。<br /> 以及小说里医术高超的乌比尔诺医生, 虽然有广博深人的医学知识储量, 他研究霍乱是为了在医学层面上彻彻底底的治疗它。他一点也不懂爱, 不懂爱情。所以，乌比尔诺医生也不具有诊断爱情疾病的能力。<br /> 所以，中西方古典的文学作品中, 医生是并不赋有能力来诊断和治疗爱情所引起的疾病的。<br /> <br /> 三.主人公的青年、中年、老年三个阶段他们的爱情。<br /> a.青年阶段——浪漫疯狂，以阿里萨和费尔明娜的初恋为主。因费尔明娜的醒悟接着拒绝阿里萨而结束——“不，请别这样，忘了吧”、“今天见到您，我发现我们之间不过是一场幻觉”。这个时期，阿里萨是以等待、信还有音乐追求费尔明娜的，我认为这三项几乎是在所有的爱情中都会或多或少起到作用的。<br /> 等待。自从阿里萨对费尔明娜一见倾心之后，他就每天在费尔明娜上学必经的道路上，捧着一本诗集在一棵杏树下假装看书，只为了一天能匆匆忙忙地看上她四次，风雨无阻。<br /> 信。最初阿里萨缺乏勇气向费尔明娜说出自己的爱意，于是开始给费尔明娜写信，从一张便条最后变成了70页的情书。也是在频繁通信中，打动了费尔明娜。<br /> 音乐。在因费尔明娜失眠的夜晚，他在费尔明娜的窗外演奏自创的爱的华尔兹。费尔明娜也是在他的音乐中更深刻的了解他。<br /> 总的来说，青年时期：他们的相爱过程短，不成熟，更多的是幻想。<br /> <br /> b.中年阶段，主要是费尔明娜与乌尔比诺医生的婚姻以及阿里萨漫长的等待中的孤独狩猎生涯。<br /> 费&amp;阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。<br /> 阿里萨在被拒绝：先是自虐，后转移对费尔明娜及她丈夫的怨恨与诅咒，随后又对费尔明娜宽恕，决定和费尔明娜留在同一个城市，并且开始新一轮漫长的等待，他的单相思——对抗时间和死亡，等乌比尔诺医生死去。<br /> 爱情的失败也让阿里萨意识到自己的身份和社会地位配不上费尔明娜，逼迫着自己去经营生活，改变自己的社会地位。<br /> 阿里萨猎艳：通过性寻找爱，消除内心孤独感<br /> 同时他和众多女人发生肉体关系。但其实正是通过和其他女人的相处，来消除内心的孤独感，弥补得不到费尔明娜爱情的缺失。他也更加确认费尔明娜对他的不可替代，是他一生唯一的挚爱。<br /> 费&amp;乌：世俗婚姻。陪伴，稳定、平淡。<br /> 在费尔明娜与乌尔比诺医生的婚姻中，他们互相陪伴，平淡也稳定。只有一次例外，就是乌尔比诺出轨芭芭拉林奇小姐，被费尔明娜发现后，医生经过长时间的内心矛盾并最终坦白。<br /> <br /> c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。<br /> 阿里萨一直坚持到了医生去世。他以他的坚持和耐心打动了费尔明娜，让费尔明娜愿意接受他。他们开始了一段旅行，旅行结束的时候因为他们不愿面对现实所以不愿回去，最后乘着以霍乱为帆的船继续航行。<br /> <br /> 四.小说里讲述的各种各样的爱情可能。<br /> 开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；<br /> 阿里萨和费尔明娜持续了半个世纪的柏拉图式的精神恋爱（包括他们青涩纯粹的初恋与年老时的黄昏恋）；<br /> 阿里萨对费尔明娜忠贞不渝的单相思；<br /> 费尔明娜与乌尔比诺医生的世俗婚姻爱情；<br /> 乌尔比诺与林奇小姐战战兢兢的婚外恋；<br /> 阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；<br /> 阿里萨与14岁少女的洛丽塔式的忘年恋…<br /> 忠贞的爱、雀跃的爱、逃离的爱、私通的爱、狂热的爱、转瞬即逝的爱、生死相依的爱…<br /> 不同层次不同角色不同性质的爱情，这篇小说也堪称是“爱情的教科书”“陈列爱情的博物馆”<br /> <br /> 五.除了爱情之外的其他主题。<br /> 1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；<br /> 岁月加于人的痕迹——表现在岁月加于主人公身上的痕迹（蹒跚的步态、上楼梯的速度、意外的跌倒、满是皱纹的皮肤、稀疏的头发）；<br /> 乌尔比诺医生、阿里萨想尽办法延缓衰老 <br /> 2.死亡。小说中提到最多的是霍乱，也是整个故事发生的宏大背景。<br /> 借以描写这种难以治愈、神秘莫测的疾病来写死亡。因为霍乱预示着死亡，而且在当时几乎就等于死亡，当时地的生产力水平和医学发展不足以让人们去抗衡。<br /> 当人们被生理上的痛楚折磨时，往往无力也无心开出精神上的花朵。然而小说中描写的就是这样一种稀有的生命之花，因为爱情有勇气与苦难和死亡的疾病抗争。<br /> <br /> 阿里萨一生都在追求费尔米纳的爱情，即使面临死亡的抉择也义无反顾: 冷酷无情的费尔米纳的父亲最初阻挠女儿与他的爱情时，甚至用死亡来威胁阿里萨，但是阿里萨毫无畏惧，“‘朝我开枪吧!’他说，把一只手放在胸口上，‘没有比为爱情而死更光荣的事情了’”。因为有了爱情，所以阿里萨充满了无畏的勇气。他为了爱情不怕死，并且崇尚为爱而死。<br /> 同时阿里萨的爱情之路实质上是一直与死亡作斗争，他到年老时害怕衰老和死亡，因为他明白，只有乌尔比诺医生死去，他才有机会再接近费尔米纳，因此，他努力与时间、衰老、死亡作斗争，他要为爱好好活着，战胜时间，战胜衰老，跨越死亡，他要活过乌尔比诺，才能重获费尔明娜。<br /> 所以说这两个主题实际上也是与爱情密切相关的，因爱情而起的，可以归结到爱情主题上。<br /> <br /> 参考文献：<br /> 1.於珍珍.《霍乱时期的爱情》中的医生形象分析[J].才智,2014(32):318-319.<br /> 2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.<br /> 3.谈清妍.爱情的乌托邦——解读《霍乱时期的爱情》中的爱情与死亡[J].襄樊学院学报,2009,30(06):51-54.<br /> 4.高小斐,孙世友.悲欢离合五十年——浅论《霍乱时期的爱情》中的爱情[J].才智, 2014(16):288.<br /> 5.李贞琤.疾病缠绕下的爱情——马尔克斯小说爱情主题与疾病主题关系探究[J].开封教育学院学报,2017,37(12):38-39+42.<br /> 6.姚婧.情感的疾病化书写——解读《霍乱时期的爱情》[J].名作欣赏,2015(17):125-128.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 03:00, 4 June 2018 (UTC)<br /> <br /> handout of张传伟<br /> 世界主义与世界文学<br /> 一、世界主义<br /> <br /> 1、世界文学的定义：<br /> (1) 各民族优秀文学的经典之总汇；<br /> (2) 一种用于从总体上研究、评价和批评文学的全球的、跨文化的和比较的视角；(3)不同语言中的文学生产、流通、翻译和批评性选择的发展演变过程。<br /> <br /> 2、形成和发展<br /> （1）词源探究<br /> 作为一个跨学科的理论概念和批评话语，世界主义可以追踪到古希腊的哲学思想那里，甚至这个术语本身就出自希腊语。我们今天在英文中所描述的世界主义( cosmopolitanism) 是由两个词组成的:cosmos在希腊语中，意为宇宙或世界，polis意为城市或城邦。这样我们就有了“世界”这个词。那些信仰其伦理道德的人便被人称为“世界主义者”( cosmopolites)，而他们的主张和理论教义便被称为“世界主义”。这就是世界主义概念就其字面意义而言的形成。<br /> （2）后世发展<br /> 世界主义通常在三个层面得到讨论:哲学的、政治学和社会学的以及文化和文学的层面。哲学维度的世界主义可以追溯到柏拉图和亚里士多德的著作，这两位希腊先哲本质上并不赞成世界主义，在他们看来，人们通常生活在自己的城邦，并且依恋特定的政治教义，所以很容易与之相认同。当他们的城邦遭受外敌入侵时，公民们便会奋起抗击，保卫自己的城邦。对这些古希腊人来说，好的公民不应当与外邦人分享过多的利益。这一观点后来逐步发展为爱国主义和民族主义。在中国，爱国主义和民族主义对那些试图形成独特的中华民族和文化认同的知识分子一直有着极大的吸引力，一个特例就是五四时期，当时虽曾有人鼓吹过世界主义，但很快就销声匿迹，淹没在民族主义的汪洋大海中了，其原因恰在于当时的中国文化土壤和时代精神并不适合世界主义驻足。<br /> 但并不是所有古希腊先哲们都反对世界主义，另一些思想较为开放且见多识广的古希腊知识分子，尤其是犬儒派哲人迪奥格尼斯(Diogenes)则鼓吹一种较为普世的伦理道德，因为他并不把自己局限于特定的城邦，甚至公开宣称:“我是一个世界公民。”从此，“世界公民”(citizen of the world)便成了所有信奉世界主义的人所致力于追求的理想。当然，他们所追求的并非是特定的民族—国家的利益，而更是一种普世价值和全人类的共同利益。他们的这种理想和追求并不满足于局限在哲学和社会政治层面，他们还试图将其推而广之。<br /> 当代学者在讨论世界主义时很少引证这些远古时期的观点，但其中的某些观点却依然在现代哲学家的著作中得到响应和发展。启蒙时期的哲学家如康德则表示了对其的莫大兴趣，提出一种世界主义的法律或权利。19 世纪以前的不同形式的世界主义仅仅停留在哲学家的假想和论辩层面上的话，那么自19 世纪以来，那些有远大抱负的人便逐渐开始将世界主义付诸实践了，从哥伦布发现“新大陆”到世界贸易航线形成等都为全球化的进程奠定了基础。<br /> <br /> 二、世界文学<br /> <br /> 1、源起<br /> 歌德是德语“世界文学”( Weltliteratur) 一词的创制者，也是第一个明确提出世界文学观念的人。歌德关于世界文学的论述集中在1827-1830年间，归纳起来有三个要点: 其一，世界文学是一个对话和流通的平台，各民族文学可以通过进入这个平台相互交流、取长补短、相得益彰。其二，世界文学是一个合乎世界主义的理想，能够推动各民族文学逐渐打破孤立割裂状态，影响融合而形成一个有机的统一体。其三，世界文学是彰显民族文学价值的场所。歌德就站在德国的角度谈论世界文学，他渴望本民族文学在推动世界文学形成过程中扮演“光荣的”、“美好的”角色，对其他民族文学(例如法国文学) 所处的优势地位则十分敏感。<br /> <br /> 2、“世界文学”内涵<br /> 在《什么是世界文学？》一书中，丹穆若什以世界、文本和读者为中心，进一步阐释“世界文学”的三重定义：“世界文学是民族文学间的椭圆折射”“世界文学是从翻译中获益的文学”“世界文学不是指一套经典文本，而是指一种阅读模式——一种以超然的态度进入与我们自身时空不同的世界的形式”。首先，“椭圆折射”利用椭圆具备两个焦点的特性，指代世界文学的双重性质。世界文学具有两个核心要点——源文化和主体文化。一部文学作品如果想成为世界文学的一部分，需要从源文化出发，被他国文化空间接受。“接受”过程与接受主体的民族文化传统和价值需求相关。因此，世界文学既与源文化相关，又与主体文化相关，是一种双重折射。仔细分析，世界文学双重折射特性表明世界文学作品并非静止、孤立，而是在不同国家、不同文化间互相流通、交流、传播、碰撞。世界文学作品，不仅受到源文化熏陶，也经过主体文化的接受和改造。其次，由于语言障碍，世界文学作品的传播和流通必须依赖文学翻译。但是，文学语言在翻译过程中会有得失。丹穆若什认为翻译中对于得失的衡量是区分民族文学与世界文学的标志。具体来看，在翻译中受损的文学，“通常局限于本民族或本地区的传统内”；从翻译中获益的文学，“进入世界文学的范畴”。他进一步指出，民族文学进入世界文学，当范围扩大后，“风格上的损失会被深度上的扩张所抵消”。由此看出，世界文学作品源于民族文学而高于民族文学，价值取向超越民族特性，拥有“世界性”。最后，丹穆若什认为世界文学并非经典文本的简单集合，而是通过一种阅读，使读者超越自身时空，进入更加广阔的世界。作为阅读模式，一部作品能否成为世界文学，取决于其他国家、民族读者的阅读效果。一旦外国作品开始在读者脑中发生共鸣，世界文学就开始活动。这种“共鸣”，实际是不同民族文学作品的相同价值取向的融汇。作品自身价值取向被本国以外读者认可，超越民族性，成为世界性价值。由此看来，世界文学不代表文学作品数量的多少，而是作为一种阅读模式，“可以通过少量作品来深入体验，也可以通过大量作品来广泛探寻”，在世界范围内寻找共鸣。<br /> <br /> 3、“世界文学”与“世界的文学”<br /> 一般而言，“世界文学”和“世界的文学”这两个概念多半是在明确的不同语境中被运用：若说“世界文学”依然意味着作品之无可非议的重要性，那么，“世界的文学”则更多地指向世界上那些不怎么有名、却能展示新方向的文学；它们不同凡响、颇有魅力，却还未在读者意识中占有重要位置。也就是说，“世界的文学”未必就是审美和经典意义的上乘之作，或得到广泛接受的作品。谈论“世界的文学”，人们面对的是浩繁的书卷，无数作品和文化传统，难以把握的界线，并在挑选时怀有开放态度。<br /> 20 世纪70 年代，世界体系理论( World System Theory) 兴起于美国，对世界文学观念产生重大影响。以美国著名社会学家伊曼纽尔·沃勒斯坦( Immanuel Wallerstein) 为代表的世界体系理论的核心，是把人类社会看成一个由结构性经济联系及各种内在制度制约的一体化的体系，以此作为考察社会发展变迁的分析单位。这是对20 世纪五六十年代兴盛的以民族国家为分析单位、研究人类社会发展变迁的经典现代化理论的反拨。<br /> <br /> 4、世界文学与比较文学<br /> 世界文学与比较文学的关系引起西方学者的重视。一种声音认为，世界文学相比于比较文学，只是在原有学科体系基础上扩大比较范围。如大卫·费里斯指出：“比较文学应成为世界文学，只是扩大比较范围，比较方法不变。”另一种声音认为，比较文学与世界文学并行不悖，相互作用。“国别文学、比较文学和世界文学彼此间保持动态相互作用关系，都无法完全取代对方。”②对于读者来讲，世界文学仅存于国家空间。比如中国读者阅读海明威《老人与海》，即使该作品在世界范围内得到广泛认可，作为世界文学作品享誉中外，但对于中国读者而言，阅读的只是一部美国小说而已。比较研究作为方法，通用于国别文学、比较文学和世界文学研究。但是，如库班指出，“世界文学接受文本，即使代表特别的国家精神……也能穿过甚至超越他们的国家，语言和历史起源，有效解域本身”，世界文学关注世界性，超越民族性。今天西方学者老话重提，有一些新的阐释，但是，作为克服比较文学危机、面向未来的比较文学学科理论，尚缺乏指导性意义。全世界比较文学学者必须寻求比较文学理论的新突破。<br /> <br /> 三、中国文学的世界化与世界文学的中国化<br /> <br /> 1、中国文学的世界化<br /> 中国文学世界化并不只是中国作家获得国际大奖或是中国作家作品被翻译介绍到外国。世界化是中国文学作为全球化时代世界文学的主体之一，在世界文学中体现出中国主体性。<br /> 马克思《路易·波拿巴的雾月十八日》中说：“就像一个刚学会一种新语言的人总是要把它翻译成本国语言一样；只有当他能够不必在心里把新语言翻译成本国语言，当他能够忘掉本国语言来运用新语言的时候，他才算领会了新语言的精神，才算是运用自如。”后现代批评家们奉为圭臬的这篇名著中，马克思的话说出了中国的世界文学认证的真正价值。全球化时代中，世界文学是对自我认证，也是对他人的认证，中国文学从世界文学得到认证，同样，世界文学从中国文学得到认证。<br /> <br /> 2、世界文学的“中国化”<br /> 世界文学的“中国化”指很多学者表示怀疑，以为是将世界文学作品按中国的观念进行改造，甚至变成“红色经典”。我们必须解释清楚：世界文学的中国化并不是用中国文学标准来“化”世界文学，而是建构中国的世界文学阐释理论体系。这是完全正当的无可非议的，中国文学从不追求“文化权力中心”。但是中国文学必须建立中国的世界文学视域，中国如何看待世界文学史理论、世界文学经典的选编与世界文学翻译，这三大要素，缺一不可。<br /> <br /> 参考文献<br /> [1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.<br /> [2]曹顺庆,李斌.比较文学未来发展之路——世界文学与比较文学变异学[J].中国高校社会科学,2016(06):39-47+154.<br /> [3]方汉文.中国文学的世界化与世界文学的中国化[J].江南大学学报(人文社会科学版),2016,15(01):93-98.<br /> [4]王宁.世界文学语境中的中国当代文学[J].当代作家评论,2014(06):4-16+2.<br /> [5]王宁.世界主义、世界文学以及中国文学的世界性[J].中国比较文学,2014(01):11-26.<br /> [6]刘洪涛.世界文学观念的嬗变及其在中国的意义[J].中国比较文学,2012(04):9-21.<br /> <br /> 西方文学的翻译<br /> <br /> <br /> 一、翻译内容、技法叙事<br /> 清末颇为兴盛的外国小说翻译一方面介绍了西方的文化思想,另一方面明显的汉民族文化特征仍不容忽视。因为近代译者多具有根深蒂固的中国文化观念,因此他们在翻译过程中对原著进行特殊的、比较主观的处理是特定历史阶段的产物。<br /> 在西方小说文化思想内容的翻译方面,“西方宗教观、伦理观与中国具体国情不同,其文学作品必然与中国文化发生抵悟,翻译者趋于沟通的心理,尽可能地使译作。与中国文化相通。”<br /> 在叙事技法的传递方面,“早期小说译者的文学修养主要源于中国传统文化,其译作的小说文体形式必然采用中国原有的通俗小说文体——章回体。在原著风格的翻译方面,“早期小说译者在翻译小说时非常注重小说的读者群,这些读者多属具有一定文化修养的文人阶层,其思维方式、审美习惯皆己定型。翻译者如果想拥有庞大的读者群,其译作就应该考虑到中国读者的阅读习惯与审美情趣,突出小说消闲、怡情的文学特征。因此,外国小说译作的汉化便成了翻译者有意追求的一种语言风格。<br /> <br /> 二、翻译方法和翻译文体<br /> 由于文学意识的不自觉、白话语体表达的幼稚性以及受众对象的特殊性等原因,在近代的文学翻译中,归化的手法、文言的文体和意译的方法颇受青睐。因此,“这种译述、意译的风气使得早期文学翻译的体例很不完备。”文学革命爆发后,文学翻译的目标读者出现“平民化”倾向,文学翻译文体走向通俗化、大众化,同时由于文学翻译中文学意识的不断增强,直译方法逐渐为越来越多的译者所使用,文学翻译开始走向异化。<br /> <br /> 三、近代翻译与意识形态的相互关系<br /> 译入语文化中的主流意识形态对中国近代翻译选材有着不容忽视的影响和操控作用。1840年—1919年的中国翻译史印证了勒菲弗尔的翻译理论。通过研究这个时期的翻译史,我们可以清楚看到,翻译作品的兴盛是随着各个历史阶段的主流意识形态的变化而变化的。例如“甲午战争的失败把中华民族的生死存亡摆在每个人的面前，……此时的意识形态可以归纳为‘开民智、求变革’,其目的是为了唤醒全体国民,进行思想和现代意识启蒙。小说因为其易普及<br /> 性被选作变革工具,成为资产阶级改良派医治`社会病'的良方。”<br /> <br /> 四、近代翻译在文化和语言方面的属性<br /> 中国近代翻译有层次区别,早期的科技翻译不同于后来的社科、文学翻译,前者主要是技术问题,后者主要是文化和语言问题。众所周知，文化翻译往往涉及到深层的语言体系问题。近代社会译者所深谙的古代汉语体系决定了近代翻译文学从根本上具有中国“古代性”。这样,“翻译者总是用旧思想、旧思维来理解和表达西方新思想、新思维,总是在旧有的语言体系中寻找相对应或相似的术语、概念、范畴和话语方式,因此,西方思想文化在翻译的过程就不知不觉地变了形,变得本土化、民族化了。<br /> 五、近代翻译的动机及其所带来的影响<br /> 近代译者为了让时人了解西方民主思想和先进的科技知识,大多有目的地选择政治小说、科学小说、侦探小说加以引进,其翻译动机就是要救国启民,因此他们的翻译观明显具有功利主义的性质。这一点对于我们理解近代的小说翻译理论和翻译策略大有裨益,对于译文中普遍存在的删改现象也就能够给予合理的解释。他明确地谈到“他们企图用中国传统文化和文学的规范去干预原文本,以此来调整读者对译文的反应,避免可能造成的文化障碍。运用这种策略和方法的目的,无非是趋利避害,把原文本中有利于译文读者的信息翻译出来,对那些不利于一译文读者或不实用的信息避而不译。”<br /> 参考文献<br /> 【1】吴莎,屠国元.论中国近代翻译选材与意识形态的关系(1840-1919)[J].外语与外语教学,2007(11):38-40.<br /> 【2】顾建新.清末民初文学翻译方法与文学翻译文体的发展[J].外语教学,2004(06):50-54.<br /> 【3】韩永芝.从文化排斥与文化认同看清末外国小说翻译[J].解放军外国语学院学报,2001(05):66-69.<br /> 【4】高玉.论中国近代翻译文学的“古代性”[J].华中师范大学学报(人文社会科学版),2000(04):66-72.<br /> 【5】陆国飞.近代外国小说译介中的功利主义思想[J].学术界,2007(04):236-239.<br /> <br /> <br /> 外国诗歌翻译<br /> [1]郭建辉.外国诗歌的审美特征与外国诗歌的鉴赏[J].重庆工业高等专科学校学报,2001(03):93-95.<br /> 由于各民族的文化传统的不同影响，外国诗歌也呈现出不同的特点，详细分析了从《荷马史诗》与《圣经》到现代主义艾略特的《荒原》特点，以把握外国诗歌的审美特征。<br /> <br /> [2]河洛易.中国现代诗歌翻译概述[J].解放军外国语学院学报,2000(05):105-108.<br /> 作为中国20世纪的诗歌翻译来说, 大致可分为七个阶段：1、诗歌翻译的前奏曲——近代诗歌翻译 (1840 年鸦片战争到 1919年“五四”运动)；2、现代诗歌翻译的开创期 (从1919 年新青年社到 1930年“左联”成立)；3、现代诗歌翻译的中期 (从 1930 年“左联”成立到 1937 年抗战开始)；4、现代诗歌翻译的后期 (从 1937年抗战开始到1949年中华人民共和国成立)；5、当代“十七年”的诗歌翻译 (从 1949 年新中国成立到“文化大革命”前夕)；6、当代“文革十年”的诗歌翻译 (文革十年)；7、当代新时期的诗歌翻译 (1976 年至今)。<br /> 外国诗歌的翻译不是一个自我封闭的静态系统，而是一个不断自我调整和适应的开放系统。<br /> <br /> [3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.<br /> 翻译诗歌为百年新诗发展注入了生机和活力，学界目前多从创作技巧、形式艺术或思想情感的角度去论述前者对后者的影响，较少从创作实践的层面去思考二者的关联。实际上，新诗创作者由于接受了不同的文化而具有各自特殊的写作背景，翻译诗歌对新诗创作的影响也因为创作主体的多元化而呈现出复杂的格局：部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上；也有部分诗人通过阅读其他人翻译的作品而受到了译诗文本的影响，这部分人也包括那些参与翻译的诗人，因为他们自己在翻译诗歌的同时也可能会阅读别人的译作。<br /> <br /> [4]熊辉.外国诗歌的翻译与中国现代新诗的文体创新[J].上海师范大学学报(哲学社会科学版),2013,42(03):70-76.<br /> 外国诗歌的翻译有助于中国新诗的文体创新,作者从语言层面的创造新字、改进语言句法和表达方式,形式层面的创造新形式、引入新形式等方面展开论述。在此基础上分析了这种在翻译的过程中创新的文体所具有的文体特征和文化属性,进而表明外国诗歌的翻译对中国新诗文体创新具有带动作用。<br /> <br /> [5]李特夫,李国林.诗歌翻译研究:传统思路与现代视野[J].天津外国语学院学报,2004(01):31-36+47. <br /> 随着译学研究范式的转向、开拓与创新 ,各种译学思想得以不断重诂和修订，为我国诗歌翻译研究带来了新的启示。在对传统译诗观念进行简要回顾和思考的基础上，针对当前一些争议和疑难性问题提出了个人看法，并借鉴西方译论，就未来诗歌翻译研究有关问题进行了探讨。<br /> <br /> [[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]<br /> <br /> [[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]<br /> <br /> [[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]</div>

Wu Yinghong https://bou.de/u/index.php?title=Aesth_App_EN_4&diff=129451 2021-12-06T13:23:57Z

<p>Wu Yinghong: /* Introduction */</p> <hr /> <div>=4吴映红：Appreciation of poetry translation in the cross-culture background=<br /> [[Aesth_App_EN_4]]<br /> <br /> ===Introduction===<br /> <br /> ===Key words===<br /> <br /> <br /> ===Introduction===</div>

Wu Yinghong