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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:26, 30 December 2021 (UTC)&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Rainvillage Merchant bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Lin Ju-hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng (Master Jia), his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Rainvillage Merchant had believed the words of Lëng Dsï-hsing yesterday, therefore, he thanked Lin Ju-hai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ju-hai  also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said to Ju-hai: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia, and left for his post on a certain day. Now, when Mascara Jade Forest abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia，and left for his post on a certain day. Now, when Mascara Jade Forest disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade Forest heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ning-guo-Anwesen&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Lin Dai-yü thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Mascara Jade Forest out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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Splendid Phoenix King listened and said;&amp;quot;The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Mascara Jade Forest's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of House of Merchant, into a black-painted gate, to the front of the ceremony door down the car.Lady City took Mascarra Jade's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade Forest out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Lady King set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. And Lady King moved to the east side when she saw Mascara Jade Forest come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Mascarra Jade replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade  Merchant was&lt;br /&gt;
coming. Mascara Jade  Forest was speculating in her mind how it was that this Precious Jade  Merchant had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Precious Jade Merchant is here.&amp;quot; Mascara Jade Forest thought to herself: &amp;quot;This Precious Jade Merchant, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars,gems,name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;br /&gt;
&lt;br /&gt;
Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=135085</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=135085"/>
		<updated>2021-12-31T08:10:51Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Grandma Merchant said, “ Place Precious Jade in the warm house with me and settle your Miss Forest inside the room of the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Precious Jade said:” Dear grandma, I would rather stay at the bed outside the Green Voile House, than at your room to bother you.”  Grandma Merchant said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides,Splendid Phoenix King had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Mascara Jade Forest had brought her old Wet Nurse -- Nanny King  and ten-year-old Snowgoose,who had also attended her since she was a child. Grandma Merchant considered Snowgoose too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Mascara Jade Forest said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. “Di”—it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 08:10, 31 December 2021 (UTC)&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Northchen&amp;quot;, is the Polaris, which was the alternative name of the emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
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Yu asked and replied, &amp;quot;This is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Precious Jade Merchant’s incarnation Divine luminescent Stone-in-Waiting watering Mascara Jade Forest’s incarnation—— the Ver,ilion Pearl Plant with nectar in the Illusory Land of Great Void.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Precious Jade Merchant's incarnation Shenying waiter watered Mascara Jade Forest's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Precious Jade Merchant said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=135084</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=135084"/>
		<updated>2021-12-31T08:08:22Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:26, 30 December 2021 (UTC)&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Rainvillage Merchant bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Lin Ju-hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng (Master Jia), his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Rainvillage Merchant had believed the words of Lëng Dsï-hsing yesterday, therefore, he thanked Lin Ju-hai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ju-hai  also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said to Ju-hai: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia, and left for his post on a certain day. Now, when Mascara Jade Forest abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia，and left for his post on a certain day. Now, when Mascara Jade Forest disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade Forest heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ning-guo-Anwesen&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Lin Dai-yü thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Mascara Jade Forest out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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Splendid Phoenix King listened and said;&amp;quot;The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Mascara Jade Forest's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of House of Merchant, into a black-painted gate, to the front of the ceremony door down the car.Lady City took Mascarra Jade's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade Forest out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Mascarra Jade replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
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Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade  Merchant was&lt;br /&gt;
coming. Mascara Jade  Forest was speculating in her mind how it was that this Precious Jade  Merchant had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Precious Jade Merchant is here.&amp;quot; Mascara Jade Forest thought to herself: &amp;quot;This Precious Jade Merchant, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars,gems,name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=135083</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=135083"/>
		<updated>2021-12-31T07:56:52Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
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&amp;quot;We talked for a while and give me two bundles of silver when leaving.&amp;quot; Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)&lt;br /&gt;
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“After talking for a while, he gave me two Liang of silver before he left. &amp;quot; The Zhen lady listened and felt sad. I was kept silence all night.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)&lt;br /&gt;
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Although capable, he was a bit accustomed to corruption,  too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)&lt;br /&gt;
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Merchant, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)&lt;br /&gt;
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The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Rainvillage Merchant lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant was busy looking at this man, who was an antiquary in the city. The man was called Leng Zixing who he’ve met in the city before. Rainvillage Merchant praised him most as a competent person, and he borrowed Rainvillage Merchant’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Zi Xing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly and smilingly inquired. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune.&amp;quot; &lt;br /&gt;
&amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)&lt;br /&gt;
--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:39, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting.&amp;quot; While speaking, he invited Rainvillage Merchant to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:40, 29 December 2021 (UTC)&lt;br /&gt;
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“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter.&amp;quot; While speaking, he invited Rain Village Merchant to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: Is there anything new in the capital city? Joker answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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They two drank and talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: &amp;quot;Is there anything new in the capital city?&amp;quot; Joker answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant laughed and said: “No one in my family is in the capital. Why are you talking about this?” Lëng Dsï-hsing said: “You have the same surname, aren’t  you the same family?” Rainvillage Merchant asked: “Who?” Lëng Dsï-hsing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Rain-Village said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
The son sighed: &amp;quot;This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past.&amp;quot; Rain village way: &amp;quot;that day ning, rong two house population is also very much, how then deserted?&amp;quot; Zi Xing said, &amp;quot;Exactly. It's a long story.&amp;quot;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
Yucun said: &amp;quot;Last year when I went to Jinlin because I wanted to visit The Remaining Vestiges of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ningguofu, street west is Rongguofu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:01, 29 December 2021 (UTC)&lt;br /&gt;
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Yucun said, &amp;quot;when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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Zi Xing laughed and said, &amp;quot;You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)&lt;br /&gt;
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Zi Xing chuckled, &amp;quot;You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)&lt;br /&gt;
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In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble.     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations.&amp;quot; When Djia Yü-tsun heard about it, he also said: &amp;quot;Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that  Ning-guo-Anwesen and Jung-guo-Anwesen are the most skillful in teaching children. How did they get to such a situation ? &amp;quot;     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei&lt;br /&gt;
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That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last.&amp;quot; Hearing about that, Yucun replied:&amp;quot;a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?&amp;quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Son Prosperity signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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Zi Xing sighed, &amp;quot;I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)&lt;br /&gt;
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His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Treasure Merchant also has a son named Prosperity Merchant who is 16 years old. Now, Lord Honor Merchant is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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Treasure Merchant would not do any proper thing but to amuse himself. Even if he turns the Ning-Guo House upside down, no one there dares to stop him. Then I will tell you about Rong House where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)&lt;br /&gt;
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Treasure Merchant would not do any his proper business，but only amuse himself，and  though he  turned rabbit in Ning Guo Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen in Rong Mansion.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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Since the death of Lord Rong(Jia Yuan), the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Pardon Merchant, the second son is called Master Merchant. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)&lt;br /&gt;
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Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Gold Mausoleum  as his wife. They had two children: the elder son Pardon Merchant, and the second named Master Merchant. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son Pardon Merchant, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Master Merchant, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Pardon Merchant inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Master Merchant, was fond of studying as a child and was a man of upright so that he was his grandfather's (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Djia Dai-schan (Jia Daishan) died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Master Merchant, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Rainvillage Merchant laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Leng Zixing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Master Jia tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:51, 29 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please  sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)&lt;br /&gt;
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This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
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Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only House of Merchant, President of   Nanjing Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Antiquary, &amp;quot;no one knows that House of Merchant is the old relative of preasure's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?&amp;quot; Zi Xing said, &amp;quot;Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)&lt;br /&gt;
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Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zixing said, &amp;quot;The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:&lt;br /&gt;
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“ The three girls in the Jia's mansion aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s eldest daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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As Grandma History is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault .Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)&lt;br /&gt;
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“As Grandma History is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Family Merchant have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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But how could that the Family Merchant have also become so vulgar in terms of the name of the daughters？&amp;quot;&lt;br /&gt;
&amp;quot;It’s not what you think&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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If you don’t believe me, check up carefully when you go back. Rainvillage pounded the table with a laugh. That’s right. The name of my girl student is Mascara Jade. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now  I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)&lt;br /&gt;
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If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)&lt;br /&gt;
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No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Rainvillage Merchant says: That's it. I have just heard that Master Merchant has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Pardon Merchant have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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Zi Xing said:&amp;quot; Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores.  After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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After hearing this, Rain Village laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Son Happy said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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Rain Village said: &amp;quot;I have to drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Son Happy said while laughing: &amp;quot; Help yourself! Gossip goes well with alcohol&amp;quot;. Rain Village looked out the window and said:&amp;quot; It's getting dark. We'd better continue our talk after entering the city in case the gate is shut.&amp;quot; --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;I accidentally drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Enjoy yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It has been dark. We'd better continue our talk after entering the city in case the gate shuts.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you.&amp;quot; Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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&amp;quot;Wai Ban&amp;quot;(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, while those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called &amp;quot;outside the shift&amp;quot;. Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)&lt;br /&gt;
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Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, and those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officer distribution to the local to wait for the officer, according to the shift, so called &amp;quot;outside the shift&amp;quot;. With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
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Dimension Poplar- an alternative name for Yangzhou (Jiangsu province). It was one of the &amp;quot;nine states&amp;quot; delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': &amp;quot;The Huaihai Sea is only Yangzhou.&amp;quot; The word &amp;quot;but&amp;quot; is synonymous with &amp;quot;wei&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)&lt;br /&gt;
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Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the &amp;quot;Kyushu&amp;quot; divided by Dayu. From the book Shangshu· Xiashu · Yugong  &amp;quot;the Huaihai sea Wei Yangzhou” &amp;quot;Wei&amp;quot; is &amp;quot;wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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Marquis──Ancient noble name. In Qin Dynasty, it was called &amp;quot;Che Hou&amp;quot;, and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to &amp;quot;Tonghou&amp;quot; to avoid the taboo of Han Wudi Liu Che. &amp;quot;Tong&amp;quot; and &amp;quot;Che&amp;quot; are synonymous, which means changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;The Book of Han·Gao Di Jixia&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;Book of Han• Han Gaozu ( the first emperor of Han dynasty)&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says &amp;quot;the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents.&amp;quot; Emperor Xuanzong of Tang Dynasty noted: &amp;quot;Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it. ​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called &amp;quot;Buddha column&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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Stiff: fall down. ​Safety, wealth and honour──From the words &amp;quot;Mencius·All Your Heart&amp;quot;:&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;br /&gt;
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)&lt;br /&gt;
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The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211110_homework&amp;diff=135081</id>
		<title>20211110 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211110_homework&amp;diff=135081"/>
		<updated>2021-12-31T07:45:57Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211110_homework|for Nov 10 - HLM Chapters 20-21]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
按语：拙著《红楼梦全解本》出版后，受到了不少专家与读者的好评，甚为欣慰。但也有读者认为，如果能删掉部分注文，既不影响读者阅读，也可节省书的成本，使更多读者买得起。&lt;br /&gt;
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Note : After the publication of ''The Dream of Red Mansions(The Anotation Version)'', it was highly appreciated by many experts and readers. However, some readers believe that if some notes can be deleted, it will not affect readers ' reading and save the cost of the publication, so that more readers can afford it.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:02, 9 November 2021 (UTC)&lt;br /&gt;
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Note: after my book the complete interpretation of Drdam Of Red Chamber was published, it was highly praised by many experts and readers. However, some readers believe that if some annotations can be deleted, it will not affect readers' reading, but also save the cost of the book and make it affordable for more readers.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
恰好中央编译出版社准备出版四大古典小说套书，为了平衡四部小说的注文，《红楼梦》的注文也嫌太长。因此接受读者的建议，将《红楼梦全解本》的注文删掉了差不多一半，其他一概未动；换言之，此版《红楼梦》校注本，实即《红楼梦全解本》的删节本（仅删注文）。因此《校注前言》仍用《红楼梦全解本》的《校注前言》，不再另写。&lt;br /&gt;
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It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of Dream Of the Red Chamber were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of Dream Of Red Chamber, and the rest remained unchanged; In other words, the revised annotation version of Dream Of Red Chamber is actually an abridged version of the complete interpretation of Dream Of Red Chamber (only the annotation is deleted). Therefore, the preface to proofreading still uses the preface to proofreading of the complete interpretation of Dream Of Red Chamber, and needn’t be written again.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)&lt;br /&gt;
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It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of ''The Dream of the Red Chamber'' were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of ''The Dream of Red Chamber'', and the rest remained unchanged; In other words, the revised annotation version of ''The Dream of Red Chamber'' is actually an abridged version of the complete interpretation of ''The Dream of Red Chamber'' (only the annotation is deleted). Therefore, ''The Preface to Proofreading'' still uses ''The Preface to Proofreading'' of the complete interpretation of ''Dream Of Red Chamber'', and needn’t be written again.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:32, 8 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
《红楼梦》以其包罗万象的内容，博大精深的思想，精湛完美的艺术，丰富生动的语言，尤其是众多栩栩如生的人物形象，不仅在中国小说史上奇峰独秀，而且在世界文学之林独树一帜。它是我国文化遗产中的珍品，值得每一个中国人所珍视。《红楼梦》在其尚未完稿的时候，已经被人竞相传抄，辗转传阅，不胫而走，蜚声神州。&lt;br /&gt;
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''A Dream of Red Mansions'' is unique not only in the history of Chinese novels, but also in the world literature with its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth cherishing by every Chinese. ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire even when it's unfinished. It is really well-known in China.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:23, 8 November 2021 (UTC)Chen Huini&lt;br /&gt;
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''A Dream of Red Mansions'' is outstanding not only in the history of Chinese novels, but also in the world literature for its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth being cherished by every Chinese.Before it is finished，  ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire and it is really well-known in China.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:25, 10 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==&lt;br /&gt;
不仅“士大夫几乎家有《红楼梦》一书”（清·潘炤《从心录》卷首），而且“家弦户诵，妇孺皆知”（清·缪艮《文章游戏初编》卷六）。上层社会更出现了“开谈不说《红楼梦》，读尽诗书也枉然”（清·得舆《京都竹枝词·时尚门》）的时尚。《红楼梦》的魅力也使其商业价值大增，“好事者每传抄一部，置庙市中，昂其值，得数十金，可谓不胫而走者矣”（清·程伟元《〈红楼梦〉序》）。&lt;br /&gt;
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''A Dream of Red Mansions'' was so popular that not only scholar officals（people obtain knowledge and wealth in feudal China） read it （the first volum of ''Essay'' by Pan Zhao, Qing），but also families，even women and children ， loved it（the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing）. Moreover ,there was a climate of ''A Dream of Red Mansions'' that the upper class believed &amp;quot; it is useless to read great books without ''A Dream of Red Mansions''.（''Bamboo Pole Poem in the Capital'' by De Yu, Qing）. The charm of  ''A Dream of Red Mansions'' also rose its business value as in record： “Someone who is willing to copy  ''A Dream of Red Mansions'' and sell it can raise 10 gold ingots everytime ，and everyone know it.（ the introduction of ''A Dream of Red Mansions'', Qing）.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:44, 7 November 2021 (UTC)&lt;br /&gt;
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Not only did &amp;quot;almost every scholar had a copy of ''A Dream of Red Mansions''&amp;quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &amp;quot;Every household recited it, and all women and children knew it&amp;quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &amp;quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&amp;quot; (''Bamboo Pole Poem in the Capital'' by De Yu, Qing Dynasty) emerged. The charm of A Dream of Red Mansions also made its commercial value increased greatly, &amp;quot;Those who are interested in it can get a lot of money by copying one of the books and selling it in the market. The information spread quickly.&amp;quot; (the introduction of ''A Dream of Red Mansions'', Qing Dynasty)--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:07, 8 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
至高鹗续写后四十回、由程伟元以活字正式出版完整的一百二十回本后，更出现了风行全国的盛况。时至今日，即使读不懂《红楼梦》的人，也都看过《红楼梦》电影或电视剧，对《红楼梦》的故事和人物无不耳熟能详。因此《红楼梦》已经不是普通的小说，而成为全民珍视的国宝了。&lt;br /&gt;
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After Gao E continued to write the second forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide. To this day, even those who do not understand ''A Dream of Red Mansions'' have seen the movie or TV series versions, and are familiar with the story and characters of ''A Dream of Red Mansions''. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:39, 8 November 2021 (UTC)&lt;br /&gt;
After Gao E continued to write the following forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide increasingly. To this day, even those who do not understand ''A Dream of Red Mansions'' have already seen the movie or TV series versions, and are familiar with the story and characters of it. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:37, 10 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
中国古代的文人墨客、传统学者、官僚士夫，无不鄙薄小说，最多被视为茶余饭后的谈资。唯独对《红楼梦》情有独钟，爱不释手。不仅百读不厌，而且像拜读经书般寻章摘句，眉批夹评，乐此不疲。&lt;br /&gt;
The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talk at most. But they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:33, 10 November 2021 (UTC)&lt;br /&gt;
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The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talks at most. However, they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only weren't tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 14:07, 12 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
久而久之，居然形成了“红学”。“红学”由起初对《红楼梦》的单纯评点，逐步发展成为对《红楼梦》及其作者的全面考证与研究，最后更成立了红学会，出版研究刊物，势头似乎越来越盛。这不仅是中国小说史上绝无仅有的，也是中国文学史上极其罕见的现象。&lt;br /&gt;
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As time passes, redology is actually formed. Redology was about pure comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study in ''A Dream in Red Mansion'' and its author. Finally, we even established redologist institution and published research periodicals, the momentum of redology more and more flourishing. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:29, 9 November 2021 (UTC)&lt;br /&gt;
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As time passes, redology is unexpectedly formed. Redology came into mere comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study of this work and its author. Finally, redologist institution was established to publish research periodicals with more flourishing tendency than ever. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 11:49, 10 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
遗憾的是，“红学家”们对《红楼梦》的作者及其版本似乎偏爱有加，而对《红楼梦》的思想和艺术价值却缺乏足够的兴趣，因此考证作者和版本的文章和著作连篇累牍，而研究《红楼梦》思想和艺术价值的成果却寥若晨星。我认为这是本末倒置。一个作家的价值不在于其生平如何，而在于其作品的思想和艺术水平的高低；是作品决定作家的价值，而不是作家决定作品的价值。&lt;br /&gt;
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Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seemingly are partial to research on the writer and verison of this book, but are short of interest for it's thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:31, 6 November 2021 (UTC)&lt;br /&gt;
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Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seem to prefer  to research on the writer and versions of this book, but are short of interest in the thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 9 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
读者对于作品的选择与评价，也只着眼于作品本身，而非作家本人。一部伟大的作品，即使作者佚名，也不影响其伟大，照样受到读者的追捧；相反，如果一个伟大作家偶然写了一部低劣的作品，读者也决不买账。因此“红学”的研究重点应该是《红楼梦》本身，而不是《红楼梦》作者。&lt;br /&gt;
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Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the valued of a great work is definitely unlikely to be underestimated, which is still welcomed by the public. Likewise, readers cannot be attracted by the inferior work written by a great writer. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:01, 9 November 2021 (UTC)&lt;br /&gt;
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Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the values of a great work are definitely unlikely to be underestimated, which is still popular with the public. Likewise, readers cannot be attracted by a low-quality work even written by a great writer occasionally. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:02, 10 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
当然也应该了解作者，但目的只是为了有助于深入了解《红楼梦》，仅此而已。我认为要想深入研究《红楼梦》，首先必须完全读懂《红楼梦》。如果对《红楼梦》的文本只是一知半解，那么所谓研究，势必如医生不明病人的病情而乱开药方，不仅治不好病，倒可能致人于死命。&lt;br /&gt;
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Certainly, we should also know the author, but the purpose is nothing more than to help us understand ''A Dream of Red Chamber'' in depth. I think that in order to make a further research on ''A Dream of the Red Chamber'', we must first have a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Chamber'', then the so-called research would definitely be like the prescriptions prescribed indiscriminately without knowing the patient's condition. Not only can it not cure the disease, but it may lead to death.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:53, 6 November 2021 (UTC)&lt;br /&gt;
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Certainly, we should also know about the author, but only with the purpose of deepening our understanding of the work. I think that further researches on ''A Dream of Red Mansions'' necessitate a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Mansions'', then the so-called research would definitely be like the prescriptions written indiscriminately by a doctor unaware of the patient's condition. Not only can it not cure the disease, but it may lead to death. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:04, 7 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
《红楼梦》研究中的许多无谓争论，正是研究者没有读懂《红楼梦》或对《红楼梦》文本的不同理解所致。因此对《红楼梦》文本的注释，显然是《红楼梦》研究的基础工作。其次，当今的读者和观众虽然热衷于《红楼梦》，但真正能够全面深入理解《红楼梦》的人恐怕并不很多。&lt;br /&gt;
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A great many arguments regarding the study of ''A Dream of Red Mansions'', caused either by an incomplete understanding or different understandings of the text, are pointless. Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:09, 7 November 2021 (UTC)&lt;br /&gt;
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Many unnecessary arguments in the study of ''A Dream of Red Mansions'' are caused by the researchers' failure to understand ''A dream of Red Mansions'' or their different understandings of the text.Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 11:14, 13 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
这是因为，《红楼梦》不是普通的白话小说，不是简单地为读者讲故事，不是为读者提供茶馀饭后的谈资，更不是为了赚稿费餬口（那时根本不存在稿费制度）。它不仅是一部反映封建社会的“百科全书”，而且作者还对人类共同关心的一些问题，如人生的目的、人性的善恶、爱情的真谛、宗教的精义等进行了探索。作品涉及的内容几乎无所不包，从至高无上的皇帝，到“芥豆之微”的细民，从国家的政治、军事、经济到百姓的日常生活，举凡天文、地理、动物、植物、建筑、服饰、医卜星相、琴棋书画等等，无不尽收笔底。&lt;br /&gt;
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This is because ''A Dream of Red Mansions'' is not an ordinary vernacular novel. It is not simply a story for readers to read, not a topic for after-dinner conversation, or a way to earn a living (there was no contribution fee system at that time). It is not only an &amp;quot;encyclopedia&amp;quot; reflecting the feudal society, but also explores some common issues of human concern, such as the purpose of life, the good and evil of human nature, the true meaning of love, the essence of religion and so on. The works cover almost everything, from the supreme emperor to the ordinary people, from national politics, military affairs, economy to the daily life of the people, including astronomy, geography, animals, plants, architecture, clothing, medicine, astrology and practise divination, poetry and painting and so on, they're all in the book.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:47, 6 November 2021 (UTC)&lt;br /&gt;
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It is because ''Dream of the Red Chamber'' is neither an ordinary novel in vernacular Chinese, nor a simple narrative or gossip for readers. The author wrote it not for remuneration for the system of remuneration for writters did not exist at that time. It is not only an &amp;quot;encyclopedia&amp;quot; reflecting the feudal society, but also an exploration of some issues of common concern to mankind, such as the purpose of life, the good and evil of human nature, the true meaning of love, and the essence of religion. It covers almost everything, from the supreme emperor to the plebeian as tiny as reed, and from the politics, military and economy of the country to the daily life of the people. It includes astronomy, geography, animals, plants, architecture, costumes, medicine, astrology, zither, chess, calligraphy and painting, and so on. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:48, 10 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
作者还调动了自己的全部才能和知识，汲取了前人的成果，撰写并引用了大量诗、词、曲、赋、歌、诔、谜语、酒令等，作为描写人物、叙述故事、揭示主题的艺术手段，从而成为作品的重要组成部分。这其中蕴藏着许多成语、典故和各种知识，现在的一般读者是很难读懂的。此外，由于曹雪芹以其家事为《红楼梦》的蓝本，且暴露了不少家丑，如秦可卿的淫荡乱伦等，因而大量采用了《春秋》笔法，即作者所谓将“真事隐去”，以“假语村言”的曲折方式进行暗示或隐寓，致使《红楼梦》扑朔迷离，迷雾重重。&lt;br /&gt;
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The author also mobilized all his talents and knowledge and drew on the achievements of his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. This contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for Dream of the Red Chamber and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, adopted much of a writing style of ''Spring and Autumn Annals'', that is, the author's so-called &amp;quot;real things concealed&amp;quot;, in the twisted way of &amp;quot;false words and village gossips&amp;quot;, which has led to the ''Dream of the Red Chamber'' being puzzling and foggy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:28, 10 November 2021 (UTC)&lt;br /&gt;
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The author also mobilized all his talents and knowledge and took  results from his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. The novel contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for ''A Dream in Red Mansions'' and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, frequently adopted a writing style of ''Spring and Autumn Annals'', that is, the author's so-called &amp;quot;real things concealed&amp;quot;, using the twisted way of &amp;quot;false words and village gossips&amp;quot; to hint and make it metaphorical which has led to ''A Dream in Red Mansions'' being puzzling and foggy.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 08:35, 14 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
因此帮助广大读者读懂《红楼梦》，也是《红楼梦》研究者义不容辞的责任。而要使读者读懂《红楼梦》，只作简单的文字注释不解决问题，必须加以详细注释，将隐藏于《红楼梦》字里行间的寓意一一揭示出来，才能完全展示《红楼梦》的本来面貌。我从学生时代起就期待这种《红楼梦》的详注本出现，一直等了半个世纪，可惜望眼欲穿而不见踪影。&lt;br /&gt;
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Therefore, it is incumbent on researchers of ''A Dream in Red Mansions'' to help numerous readers understand the novel. For this, problem can’t be solved simply by text annotations. What should do is to add detailed explanatory notes to discover the meanings implied in characters, which can fully show the way the book originally is. I have expected the appearance of this version with detailed annotations since I was a student. I’ve waited for half a century, but it never comes out.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:46, 12 November 2021 (UTC)&lt;br /&gt;
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Therefore, it is our researchers' duty to heip numerous readers understand A Dream in Red Mansions. To do that, simple text annotations are not enough. And detailed explanatory notes are needed to discover its implied meanings, which can fully show its characteristics. Waiting for half century, I have expected the apppearance of this version with detailed annotations since I was a student.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 01:49, 15 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
很显然，“红学家”的队伍虽然不断壮大，看来他们对这种注释工作似乎不屑一顾。于是我这个“红学”的门外汉便斗胆一试，结果试出了这个《红楼梦》校注本。我这是“人弃我取”，希望不至于冒犯任何人。&lt;br /&gt;
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Obviously, the amount of redologists who are sepcalists in A Dream of Red Mansion was increasing. They seemed to pay no attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing the things others gave up, which would not offend anyone.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:52, 7 November 2021 (UTC)&lt;br /&gt;
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Obviously, the amount of redologists sepcalizing in A Dream of Red Mansion was increasing. They seemed to pay little attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing things others gave up, which I hope would not offend anyone.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:20, 7 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
如果能成为“引玉”之“砖”，即使要做“众矢之的”，招来“万箭攒射”，我也决不后悔，因为这也算是我对《红楼梦》读者的小小奉献了。下面仅就与校注工作有关的几个具体问题略作说明。&lt;br /&gt;
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一、作者问题&lt;br /&gt;
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If I can serve as a modest spur to induce someone to come forward with his valuable contributions, I will never regret even if I could be the target of public criticism. It is because that the annotation work  is also my dedication to the readers of A Dream of Red Mansions. And I will explain a little about the specific questions in proofreading below. 1. The Question of Author--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:40, 7 November 2021 (UTC)&lt;br /&gt;
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If I can become a &amp;quot;brick&amp;quot; for &amp;quot;inviting jade&amp;quot;, even if I want to be &amp;quot;a target of all targets&amp;quot; and attract &amp;quot;a thousand arrows&amp;quot;, I will never regret it, because this is also a small dedication to the readers of &amp;quot;A Dream of Red Mansions&amp;quot;. The following is only a brief description of a few specific issues related to the proofreading work.&lt;br /&gt;
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
中国文学史中有两个突出现象：一是在封建时代得意并著名的文人不写小说；二是小说作品多不署名或只署化名。这完全是由封建统治者造成的。封建统治者的文学观是纯粹的政治功利主义，即所谓“文以载道”。&lt;br /&gt;
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There are two outstanding phenomena in the history of Chinese literature: one is that famous and proud literati in the feudal era do not write novels; the other is that many novels do not sign or only sign pseudonyms. This is entirely caused by the feudal ruler. The feudal ruler’s literary view is pure political utilitarianism, that is, the so-called &amp;quot;writing is used to carry Tao&amp;quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)&lt;br /&gt;
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There are two prominent phenomena in the history of Chinese Literature: first, the proud and famous literati in the feudal era did not write novels; Second, most novels are not signed or only signed by pseudonyms. This was entirely caused by the feudal rulers. The literary view of feudal rulers was pure political utilitarianism, that is, the so-called &amp;quot;literature carries Tao&amp;quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
他们认为小说不仅不能“载道”，而且往往“诲淫诲盗”，对封建统治构成威胁。因此不仅将小说排斥在正统文学之外，甚至常常以“禁毁”的方式加以扫荡。在文网森严及小说地位低贱的环境下，多数文人自然不敢或不屑从事小说的创作；而那些痴迷小说的作者也就不敢或不愿在小说作品上亮出自己的真名实姓。They faithfully believe that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &amp;quot;prohibition and destruction&amp;quot;. In the social background of highly strict policy of Literary Network and low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to show their real names in their novels.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:46, 10 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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They believed that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &amp;quot;prohibition and destruction&amp;quot;. In the social background of highly strict policy of Literary Network and of low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to sign their real names in their novels.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:18, 11 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
因此研究中国古代小说多了一项工作，即不得不对小说作者加以考证。《红楼梦》也不例外，它的作者连化名都未署一个。“红学家”们为了考证它的作者，不知耗费了多少精力和时间，然而由于史料不足，至今仍然众说纷纭,难以形成共识。&lt;br /&gt;
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Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception. Its author does not even have a pseudonym. In order to do textual research on its author, the &amp;quot;redologists&amp;quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 01:57, 6 November 2021 (UTC)&lt;br /&gt;
Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception, whose author does not even have a pseudonym. In order to do textual research on its author, the &amp;quot;redologists&amp;quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:39, 15 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
据我个人所知，至少就有七种说法：其一为“曹作高续”说。即认为曹雪芹写到八十回而去世，并可能留下了后四十回的某些提纲以及部分书稿；高鹗根据曹雪芹的这些提纲、书稿以及前八十回中的许多暗示，还可能参考了其他人的续作，完成了后四十回的创作，并对前八十回加以修订，从而使《红楼梦》成为完璧。&lt;br /&gt;
As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao passed away and left some outline and manuscripts of the latter fourth chapters when the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished. --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:27, 15 November 2021 (UTC)&lt;br /&gt;
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As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao had passed away and left some outline and manuscripts of the latter fourth chapters while the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:04, 15 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
其二为“曹作程续高订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是程伟元，高鹗只是参加了全书的修订工作。其三为“曹作高续程订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是高鹗，程伟元则对曹雪芹的前八十回加以修订。&lt;br /&gt;
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The second is the theory of &amp;quot;Cao came to write, Cheng continued to write, Gao to revise&amp;quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Cheng Weiyuan, and Gao E only participated in the revision of the whole book. The third is the theory of &amp;quot;Cao came to write, Gao continued to write, Cheng to revise&amp;quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Gao E, and Cheng Weiyuan revised Cao Xueqin's first 80 chapters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:47, 6 November 2021 (UTC)&lt;br /&gt;
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The second statement said that &amp;quot;Started by Cao, completed by Chen, and revised by Gao&amp;quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Cheng Weiyuan, and Gao E only revised the whole book. The third statement said that &amp;quot;Started by Cao, completed by Gao, and revised by Chen&amp;quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Gao E, and Cheng Weiyaun made revisions to the first 80 chapters of Cao Xueqin.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:56, 10 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
其四为“曹作某续高订”说。即认为在程伟元和高鹗之前，已有人为曹雪芹的未完稿续写完全，程伟元将搜集到的抄本交由高鹗修订，然后刊行。其五为“曹作程高修订”说。&lt;br /&gt;
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The fourth statement said that “Started by Cao, completed by someone, and revised by Gao”. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished writing. Then, Cheng Weiyuan collected this hand-copied version and provided it for Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published . The fifth statement said that “Started by Cao, and revised by both Cheng and Gao ”.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 08:08, 10 November 2021 (UTC)&lt;br /&gt;
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The fourth statement said that &amp;quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&amp;quot;. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished work. Then, Cheng Weiyuan collected these hand-copied drafts and offered them to Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published. The fifth statement noted that &amp;quot;It was started by Cao, and revised by both Cheng and Gao&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
即认为曹雪芹已经完成了《红楼梦》全书，只是未遑修饰而去世，后由程伟元和高鹗共同修订并刊行。其六为“叔作侄订”说。即认为《红楼梦》的原作者是曹雪芹的叔父曹頫，也就是给《红楼梦》加批的“脂砚斋”；曹雪芹只是对它“披阅十载，增删五次”。&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', while as a result of his death it was not polished by himself, but co-revised and published by Cheng Weiyuan an Gao 'E later on. Sixly, rumar had it that this classic was the common product of the uncle and the nephew. That was to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:55, 14 November 2021 (UTC)&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions''. As a result of his death it was not published by himself. However, co-revised and published by Cheng Weiyuan an Gao 'E later on. Rumar had it that this classic was the common product of the uncle and the nephew. Which shows, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the only one who added notes in that masterpiece, and Cao Xueqin just repeatedly revised it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:35, 6 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', but died before he could polish it. As a result, the draft was co-revised and published by Cheng Weiyuan an Gao 'E later on. The sixth opinion is that this classic is the common product of the uncle and the nephew. That's to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:35, 14 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
其七为“某作曹订”说。即认为《红楼梦》的原作者是个与曹家毫不相干的无名氏，曹雪芹只是个修订者。“红学家”对《红楼梦》作者的意见分歧，使出版者无所适从，因而造成了新版《红楼梦》署名的混乱：或只署曹雪芹，或并署曹雪芹、高鹗，或干脆不署名。&lt;br /&gt;
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The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''A Dream in Red Mansions'' is an anonymous person who has no relation with Cao’s family, and Cao Xueqin is only the reviser. The different opinions among the “redologists” about the author of ''A Dream of Red Mansions'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:40, 10 November 2021 (UTC)&lt;br /&gt;
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The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''The Dream of the Red Chamber'' was an anonymous person who had no relation with the Cao’s, and Cao Xueqin was only a reviser. The different opinions among the “redologists” about the author of ''The Dream of the Red Chamber'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:33, 10 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
由于我对这个问题缺乏专门研究，只能在以上七种说法中加以选择。我认为这七种说法都有一定的根据，均非空穴来风。但相比之下，第一种说法的证据更为充分，也得到了学界的普遍认可，因此仍将曹雪芹和高鹗作为《红楼梦》的共同作者。&lt;br /&gt;
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Because of a lack of specialized research to this question, I had to select from the seven statements above. I thought that the seven statements were of certain basis. However, with comparison, the evidence of first statement was more sufficient, and was largely approved by the academic circles. So,  Cao Xueqin Autor and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:47, 6 November 2021 (UTC)&lt;br /&gt;
Being lacking in specialized research to this question, I had to select from the above seven versions . I thought that they were of certain basis. However, with comparison, the first statement was more credible, and was largely approved by the academic circles. So, Cao Xueqin and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:57, 10 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
至于这种说法的具体根据，以及两作者的生平，已见于不少专文，这里不再赘述。&lt;br /&gt;
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二、版本问题&lt;br /&gt;
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由于《红楼梦》创作过程和流传过程的特殊性，造成了《红楼梦》版本的复杂性。&lt;br /&gt;
We will not describe more about the specific reason of this opinion and lives of the two authors because a lot of scholars have discussed it.&lt;br /&gt;
二、Version problem&lt;br /&gt;
The unique process of creating and circulating A Dream in Red Mansions leads to such complicated versions of it.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:52, 10 November 2021 (UTC)&lt;br /&gt;
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As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.&lt;br /&gt;
 Second, the version of the problem because of the &amp;quot;Dream of Red Mansions&amp;quot; creative process and the special nature of the process of circulation, resulting in the &amp;quot;Dream of Red Mansions&amp;quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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而《红楼梦》版本的复杂性，又迫使我们不得不有所选择。《红楼梦》的创作和流传过程可以分为四个阶段：其一是曹雪芹的创作阶段。虽然曹雪芹自称“披阅十载，增删五次”，其实由于他溘然而逝，只留下了一部《红楼梦》的未完稿和未定稿。&lt;br /&gt;
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The complexity of the version of a Dream of Red Mansions forces us to make choices. The creation and spread of a Dream of Red Mansions can be divided into four stages: one is  Cao Xueqin Autor's creation stage. Although  Cao Xueqin Autor, claimed that &amp;quot;reading for ten years, adding and deleting five times&amp;quot;, in fact, because of his death, leaving only a dream of red Mansions unfinished and unfinished.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 08:59, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)&lt;br /&gt;
The complexity of the version of a ''dream of Red Mansions'' forces us to choose. The creation and spread of the ''dream of Red Mansions'' can be divided into four stages: one is the creation stage of  Cao Xueqin Autor. Although  Cao Xueqin Autor claimed to &amp;quot;read for ten years, add and delete five times&amp;quot;, in fact, due to his death, only one unfinished and undecided version of a dream of Red Mansions was left.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:16, 9 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
他只完成了八十回，约相当于全书的三分之二。他不仅未对这八十回的书稿进行修订润色，而且还有不少待补的缺文。以“红学家”认为最好的版本“庚辰本”为例：第十七、十八两回合用一套回目，第十九回没有回目；第二十二回写荣国府作灯谜游戏，“此回未成而芹逝矣”(脂砚斋批语)，以至不仅缺了主要人物贾宝玉、林黛玉和史湘云的灯谜，而且本回还有不少其他缺文；如此等等。&lt;br /&gt;
He completed only eighty times, about two-thirds of the book. Not only did he leave the eighty drafts unrevised, but there was still much to be done. To the researcher of a dream of Red Mansions that the best version of the &amp;quot;gengchen Ben&amp;quot; as an example: the 17th, 18th round with a set of return, the 19th back no return; The twenty-second time to write rongguo Mansion for lantern riddle game, the chapter is unfinished but Cao Xueqin is dead (the ink stone lent comments), so that not only the lack of lantern riddles of the main characters Precious Jade Merchant , Mascara Jade Forest and Fragrant-cloud History, and this time there are many other lack of text; And so on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:26, 7 November 2021 (UTC)&lt;br /&gt;
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He completed only eighty chapters, about two-thirds of the whole book. Not only did he leave the eighty drafts unrevised and unpolished, but there was still much missing pages to be filled. Take the “Gengchen Version” as an example, which was considered the best version by Redology scholars, the 17th, 18th chapters kept the same content and the 19th had no content; The chapter 22, which was about Rongguo Mansion' lantern riddle game, was unfinished before Cao Xueqin passed away. (comments from the Ink Stone Lent), so that there was not only a lack of lantern riddles of the main characters Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History, but also many other contents, and so on.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:53, 7 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
其二是曹雪芹《红楼梦》八十回本的传抄阶段，其间大约近三十年。由于抄书速度很慢，《红楼梦》的篇幅又很长，要想在短时间内抄完一部，需集多人之手。故多为达官显宦之家雇佣抄手，集体完成。&lt;br /&gt;
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The second lay in the transmission and copying stage of 80 chapters of Cao Xueqin's ''A Dream of Red Mansions'', which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to scribe it done in a short time. Therefore it was the noble officials anddignitaries who often hired scribes to do the task together.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:39, 7 November 2021 (UTC)&lt;br /&gt;
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The second stage is the transmission and copying of 80 chapters of ''A Dream of Red Mansions'' written by Cao Xueqin, which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to finish it  in a short time. Therefore it was the noble officials and dignitaries who often hired scribes to do the task together.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 05:33, 10 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
又因它是一部未完稿和未定稿，抄手便自觉或不自觉地加以增删修改；而抄手大多水平不高，且良莠不齐，鲁鱼亥豕，在所难免。从而导致大量异文乃至讹误的产生。其三是高鹗和程伟元续写后四十回并对全书进行修订和刊行的阶段。&lt;br /&gt;
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And because it was an unfinished and undecided manuscript, the scribes  consciously or unconsciously added, deleted  and modified it. Most scribes  lacked skills and the level of copying varied in quality. Accordingly, it was inevitable that clerical errors occurred, which led to a large number of variant versions of the book and even misinterpretations in the text. The third was the stage when Gao E and Cheng Weiyuan wrote a continuation of 40 chapters for ''A Dream in Red Mansions'', revised and published the whole book.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:29, 6 November 2021 (UTC)&lt;br /&gt;
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And because it was an unfinished and undecided manuscript, the copywriters consciously or unconsciously added, deleted or modified it; Because most copywriters lacked skills and their level of copying varied in quality.so it was inevitable that led to a large number of different texts and even errors in the text. The third was the stage when E Gao and Weiyuan Cheng continued to write the last 40 chapters of ''A Dream in Red Mansions'',revised and published the whole book.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:47, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
其间又可分为四段：首先由程伟元对各种《红楼梦》抄本加以搜集(其中可能包括无名氏续写的书稿)；其次由高鹗续写后四十回，并对前八十回进行大量修订(程伟元也可能参与了修订工作)；又次由程伟元于乾隆五十六年（公元1791年）用活字排印出版一百二十回本，后来被胡适先生命名为“程甲本”；次年由高鹗和程伟元对“程甲本”加以修订再版，后来又被胡适先生命名为“程乙本”。据说还有“程丙本”，如今已经不知下落，据个别看过的人说，较之“程乙本”改动甚少，因而可以置之不论。&lt;br /&gt;
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It can be divided into four periods: firstly,Weiyuan Cheng collected various transcripts of ''A Dream of Red Mansions ''(including the manuscripts of a sequel written by anonymous authors); Secondly,E Gao continued to write the last 40 chapters and made a lot of revisions to the first 80 chapters (Weiyuan Cheng may also had participated in the revision work); thirdly, another 120 copies were printed and published by Weiyuan Cheng in movable type in the 56th year of the Emperor of Qianlong (AD 1791), which was later named &amp;quot;Cheng Jia Edition&amp;quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi Ben&amp;quot; by  Mr.Shi Hu. It is said that there is also &amp;quot;Cheng bing Edition&amp;quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &amp;quot;Cheng Yi Edition&amp;quot;, so it can be set aside.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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It can be divided into four stages: in the first stage, Cheng Weiyuan collected all kinds of  transcripts of ''A Dream of Red Mansions'' (including the manuscripts of a sequel written by unknown authors); Secondly, Gao E continued the last 40 chapters and made a lot of revisions to the first 80 ones (Cheng Weiyuan may also had participated in the revision work); thirdly, another 120 copies were printed and published by Cheng Weiyuan in movable type in the 56th year under the reign of the  emperor Qianlong (AD 1791), which were later named &amp;quot;Cheng Jia (the first) Editions&amp;quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi (the second) Edition&amp;quot; by Hu Shi. It is said that there was also &amp;quot;Cheng Bing (the third) Edition&amp;quot;, which now has no whereabouts. According to someone who had once read it, compared with &amp;quot;Cheng Yi Edition&amp;quot;, there were so few changes that it could be set aside.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:11, 8 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
其四是《红楼梦》刊本的流传阶段。此段从程伟元的活字本问世开始，直到现在。在刊本出现后，虽然由于某些人的爱好或习惯，仍有抄本流传，但已是强弩之末，不成气候，而刊本的流传却如燎原之势，席卷全国。&lt;br /&gt;
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The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage has been going on since Cheng Weiyuan's movable printed editions were published. After these versions appeared, though transcripts were still spreading due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 14:22, 6 November 2021 (UTC)&lt;br /&gt;
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The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage start from cheng Weiyuan's movable type book came out and until now. After the publication appeared, although due to some people's hobbies or habits,  it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:00, 8 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
《红楼梦》如此特殊的创作和流传过程，导致了《红楼梦》的“三多”现象：版本多，异文多，讹误多。幸运的是，近几十年来，这些版本不仅不断被发现，而且陆续被影印出版，从而使我们得以大饱眼福。仅就我个人视野所及，即有十二种版本，而且五花八门：或名《石头记》(5种)，或名《红楼梦》(7种)；或为抄本(10种)，或为刊本(2种)；或为八十回系统(8种，其中6种为残本)，或为一百二十回系统(4种)。&lt;br /&gt;
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The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &amp;quot;three many&amp;quot; : many versions, many different texts and many errors. Fortunately, in recent decades, these editions have not only been discovered, but photocopied and published, so that we can feast our eyes on them. As far as I can see, there are twelve versions, and they are diverse，named as &amp;quot;The Story of the Stone&amp;quot; (five versions) or &amp;quot;A Dream of Red Mansions&amp;quot; (seven versions). Some are codex (10 kinds) and some are  periodical (2 kinds); Some are 80 chapter system (8 types, 6 of which are incomplete) and some are 120 chapter system (4 types).--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:53, 8 November 2021 (UTC)&lt;br /&gt;
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The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &amp;quot;three many&amp;quot;: many editions, many variants and many errors. Fortunately, in recent decades, these editions have not only been discovered, but successively photocopied and published, which greatly regale us. As far as I know, there are twelve editions in great diversity. Some are titled ''The Story of the Stone'' (five editions), or ''A Dream of Red Mansions'' (seven editions); some are hand-copied (10 editions), while some printed (8 including 6 incomplete editions); some are composed of 80 chapters, while some others 120 chapters.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:17, 13 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
《红楼梦》的众多版本，对于研究者是极有价值的，它们可以帮助研究者分析《红楼梦》的创作过程和流传过程，并进行比较研究。但对于普通读者来说，如此眼花缭乱的版本，犹如坠入五里雾中，使他们无从选择。因此《红楼梦》的研究者有义务为他们提供一个最好的版本。&lt;br /&gt;
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The various versions of ''Dream of the Red Chamber'' have enormous value to researchers. They can be helpful to researchers in analyzing the processes of creation and dissemination, and facilitating comparative studies. However, for common readers, such a dazzling array of versions might leave them with a foggy head and unable to decide. Therefore, researchers are obliged to offer the best version. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 06:09, 10 November 2021 (UTC)&lt;br /&gt;
The various versions of ''Dream of the Red Chamber'' are valuable to researchers, which can helpful to them in analyzing the processes of creation and dissemination of the book,  as well as working on comparative studies. However, it would be confusing and indeterminable for the general readers when facing with such a dazzling array of versions. It’ s therefore incumbent upon researchers to offer the best version.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
况且为了很好地保存这笔珍贵的文化遗产，也必须确立一种《红楼梦》的最好版本。那么哪一种版本是《红楼梦》的最好版本呢？答案就是“程乙本”。鉴于至今仍有“红学家”对高鹗续写的《红楼梦》后四十回既持否定态度，又在出版《红楼梦》时不得不用它与曹雪芹的前八十回相配为完整的一百二十回本，我在这里必须首先对高续后四十回的价值略作说明。&lt;br /&gt;
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Moreover, in order to preserve this precious cultural heritage, it is also necessary to establish the best version of ''Dream of the Red Chamber''. So which is the best version? The answer is &amp;quot;Cheng Yi Ben&amp;quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &amp;quot;Redologists&amp;quot; who have a negative attitude towards Gao E 's subsequent writing of the later forty chapters of ''Dream of the Red Chamber'', and who had to use Gao‘ s creation in conjunction with Cao Xueqin's first eighty chapters as the complete one—hundred and twenty chapters, I must first give a brief explanation of the value of Gao's continuation of the later forty chapters.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:18, 8 November 2021 (UTC)&lt;br /&gt;
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Moreover，it is also necessary to establish the best version of ''Dream of the Red Chamber'' to preserve this precious cultural heritage.So which one is the best version of it？The answer is &amp;quot;Cheng Yi Ben&amp;quot;.Since there is still opposition against the forty chapters wrote by Gao E，the “master of the Dream of the Red Chamber，while it is a must to combine them and the eighty chapters wrote by Cao Xueqin to form an integral book which has one hundred and twenty chapters，I must briefly introduce the value of the forty chapters wrote by Gao E--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 08:46, 10 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
率先冲破评点派和索隐派而从中国小说发展史的角度客观评价高鹗续书的是胡适先生。他在1921年11月12日定稿的《〈红楼梦〉考证》（见1923年亚东图书馆版《胡适文存》）中说：我们平心而论，高鹗补的四十回，虽然比不上前八十回，也确然有不可埋没的好处。他写司棋之死，写鸳鸯之死，写妙玉的遭遇，写凤姐的死，写袭人的嫁，都是很有精采的小品文字。&lt;br /&gt;
The man who first transcend the groups of criticizing and objectively comment the continuation of Gao E from the perspective of the history of the development of Chinese novels is Hu Shi.He said in his 《Test of the Dream of the red mansions》finalised in 1921，12th November that：“To be honest，Gao E’s supplementary forty chapters，though not comparable to the original eighty chapters，still boast their own outstanding merits.For instance，he wrote the death of Si Qi，of Yuan Yang，of Feng Jie，the encounter of Miao Yu and the marriage of Xi Ren，are all excellent facetious words.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:08, 9 November 2021 (UTC)&lt;br /&gt;
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It was Mr. Hu Shi who firstly made a breakthrough between “Pingdian Group” and “Suoying Group” and objectively evaluated Gao E’s continuation from the perspective of Chinese novel’s history. In ''A Textual Research on A Dream of Red Mansions'' finalized on November 12, 1921 (''Hu Shi’s Article Archive'', Yadong Library Edition, 1923), he said, “To be fair, the following forty episodes written by Gao E certainly have undeniable charm although not as good as the previous eighty. He ended Siqi’s life with death, wrote about the death of Yuanyang, the suffering of Miaoyu, Sister Feng’s demise and the marriage of Xiren, all of which are really brilliant sketches. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:31, 12 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
最可注意的是这些人都写作悲剧的下场。还有那最重要的“木石前盟”一件公案，高鹗居然忍心害理的教黛玉病死，教宝玉出家，作一个大悲剧的结束，打破了中国小说的团圆迷信。这一点悲剧的眼光，不能不令人佩服。&lt;br /&gt;
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It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &amp;quot; Wood and Stone's Previous Oath&amp;quot;. In the novel, Gao E auturally had the heart to leave Daiyu to die of illness and Baoyu to become a monk. He made it ended up as a great tragedy and broke the routine of &amp;quot;reunion superstition&amp;quot; in traditional Chinese novels, which could not be more admirable from the tragic perspective.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:00, 7 November 2021 (UTC)&lt;br /&gt;
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It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &amp;quot;The Pledge in front of Wood and Stone&amp;quot;, in the novel, the author Gao E actually ended Mascara Jade Forest's (Lin Daiyu's) life with death resulting from illness and left Precious Jade Merchant (Jia Baoyu) to become a monk. Gao E finished ''A Dream of Red Mansions'' with a tragical epilogue so as to break the superstition that Chinese novels routinely end in happy reunion. In this sense, Gao E's tragic perspective deserves admiration and praise.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:09, 7 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
我们试看高鹗以后，那许多续《红楼梦》和补《红楼梦》的人，那一个不是想把黛玉、晴雯都从棺材里扶出来，重新配给宝玉？那一个不是想做一部“团圆”的《红楼梦》的？我们这里退一步想，就不能不佩服高鹗的补本了。我们不但佩服，还应该感谢他，因为他这部悲剧的补本……居然打倒了后来无数的团圆《红楼梦》，居然替中国保存了一部有悲剧下场的小说！&lt;br /&gt;
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As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Mascars Jade Forest (Lin Daiyu) and Sunny Cloud Formation (Qing Wen), who died and lay in coffin, and then to betroth them to Precious Jade Merchant (Jia Baoyu). And these writers all had the desire to end the story in a warm reunion. On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:35, 7 November 2021 (UTC)&lt;br /&gt;
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As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Lin Daiyu and Qing Wen (or Sunny Cloud Formation), who died and lay in coffin, and then to betroth them to Jia Baoyu (or Precious Jade Merchant). Which writer did not want to create &amp;quot;A Dream of the Red mansion&amp;quot; with a reunion ending? On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:33, 7 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
几乎与胡适同时，俞平伯先生也对高鹗的续书予以专章论述。他在1923年亚东图书馆出版的《红楼梦辨·论续书底不可能》中说：从高鹗以下，百馀年来，续《红楼梦》的人如此之多，但都是失败的……我以为凡书都不能续，不但《红楼梦》不能续；凡续书的人都失败，不但高鹗诸人失败而已。&lt;br /&gt;
Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a chapter to the continuation of Gao E's book. He said in the &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ...... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; can not be renewed; all the people who renewed the book failed, not only Gao E and others failed.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:27, 7 November 2021 (UTC)&lt;br /&gt;
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Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a comment chapter to the continuation of Gao E. He said in the &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; is in the case; all the people who renewed books failed, not only Gao E and others did.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:43, 8 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
因此他的结论是：高鹗诸人续写的《红楼梦》都是“狗尾续貂”。俞先生“凡书都不能续”、“凡续书的人都失败”的说法未免武断，至少措辞不够严谨。事实上，成功的续书并非没有，只是不多。&lt;br /&gt;
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Therefore, his conclusion is: The continuations of &amp;quot;The Dream of Red Mansions&amp;quot; written by the Gao E and others are all &amp;quot;wretched sequels to a masterpiece.&amp;quot; Mr. Yu’s statement that “every book cannot be continued” and “everyone who renews a book fails” is a bit too arbitrary, at least the wording is not rigorous enough. In fact, successful continuations do exist, but are not substantial.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:29, 8 November 2021 (UTC)&lt;br /&gt;
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He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &amp;quot;dog tails on a marten&amp;quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &amp;quot;all books cannot be renewed&amp;quot; and &amp;quot;all those who renew books will fail&amp;quot; is arbitrary, or at least not carefully worded. In fact, successful continuations do exist, but are not substantial.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:35, 9 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
且不说成功的学术著作不乏范例，就是小说作品的续书也有成功的。譬如清代陈忱的《水浒后传》、近代吴趼人的《新石头记》，就都是别开生面之作。不过俞先生毕竟是严肃的学者，尽管他对高鹗的续书很不满意，却对高鹗的功绩予以肯定。&lt;br /&gt;
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Not to mention that there is no shortage of examples of successful scholarly works, there are also successful sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:25, 9 November 2021 (UTC)&lt;br /&gt;
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Not to mention that there is no shortage of successful examples of scholarly works, there are also successes in sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works in new forms. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:06, 7 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
他在《红楼梦辨·后四十回底批评》中说：高鹗以审慎的心思，正当的态度来续《红楼梦》；他宁可失之于拘泥，不敢失之于杜撰。其所以失败：一则因《红楼梦》本非可以续补的书，二则因高鹗与曹雪芹个性相差太远，便不自觉地相违远了。处处去追寻作者，而始终赶他不上，以致迷途；这是他失败时底光景。&lt;br /&gt;
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He said in the ''Defense of The Dream of Red Mansion: the criticism of the last forty chapters'': “GaoE continued writing The Dream of Red Mansion with his prudent intention and serious attitude; He would rather make it up than adhere to it. There are two reasons for the failure of his version. The first is that the book itself is not a book that can be continued writing. The other is GaoE’ s character is different far from Cao Xueqin’sw which naturally lead to his misconception about this book. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is his background of failure.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:11, 7 November 2021 (UTC)&lt;br /&gt;
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He said in the '' Defense of A Dream of Red Mansions: the criticism of the last forty chapters '': “Gao E continued writing '' A Dream of Red Mansions '' with his prudent intention and serious attitude; He would rather rigidly adhere to the content than fabricate some details. There are two reasons for the failure of his version. The first is that this novel itself is not the one that can be continued writing. The other is that Gao E’ s character is different far from Cao Xueqin’s which naturally lead to very distinct characteristics in this novel. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is the reason of his failure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:28, 8 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
至于混四十回于八十回中，就事论事，是一种过失；就效用影响而论，是一种功德；混合而论是功多罪少。“失败了，光荣地失败了！”是我对于高鹗底赞扬和指斥。俞先生在晚年对高鹗的续书给予更多的肯定，认为高鹗的续书使残缺的《红楼梦》成为完璧，是一大功劳。  &lt;br /&gt;
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As for adding forty chapters to the original eighty chapters, sticking to the facts, it is actually a demerit. However, it can be a kind of merits and virtues in terms of utility effect. With regarding to several aspects, and his merits can more than wipe out his faults. “Failed, gloriously failed!”It's my praise and rebuke to Gao E. In the later years of Mr. Yu, he gave more recognition to Gao E’sequel, believing that Gao E’ sequel made the fragmentary ''A Dream of Red Mansions'' a complete story which was a great credit.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:25, 8 November 2021 (UTC)&lt;br /&gt;
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As for mixing the forty chapters to the original eighty chapters, actually it is a kind of negligence in terms of facts; in terms of effectiveness and influence, it is a kind of merit; in terms of mixing, it is more meritorious and less sinful. &amp;quot;Failed, failed gloriously!&amp;quot; I praised and reprimanded Gao E. In his later years, Mr. Yu gave more affirmation to Gao E’s sequel, and believed that Gao E’ s sequel made the incomplete ''Dream of Red Mansions'' a great achievement.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 05:16, 12 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
鲁迅先生也对高鹗的续书予以肯定，只是对书末贾府的“复振”表示遗憾。他在《中国小说史略》（1923、1924年由北京大学新潮社分上下册出版，1925年由北京北新书局合为一册出版）第二十四篇中说：后四十回虽数量止初本之半，而大故迭起，破败死亡相继，与所谓“食尽鸟飞独存白地”者颇符，惟结束又复振。&lt;br /&gt;
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Lu Xun also gave a approval to the sequel of the book by Gao E, but regretted the “revitalization” part of Merchant’s mansion at the end of the book. He claimed in Chapter 24 of ''Chinese Novel Outline History''(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the latter forty chapters is only half of the original version in quantity, there are great changes, ups and downs, and dilapidated deaths one after another, which is very consistent with the so-called “eating all birds and flying alone in the white land”, but it ends and vibrates again.&lt;br /&gt;
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)&lt;br /&gt;
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Lu Xun also affirmed Gao E’s sequel, and just expressed regret for the “revitalization” of Merchant Mansion at the end of the book. He claimed in chapter 24 of Chinese Novel Outline History(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the last forty chapters are only half of the original version in quantity, events occurred constantly and loss and death were in succession, which was quite consistent with the statement “birds ate and flew, then left the bleak place”. But it was a pity that the sequel ended in revitalization. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:58, 8 November 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
以上三位权威学者对高鹗续书的评价不尽相同，但有两点共识：高鹗的后四十回逊于曹雪芹的前八十回，但他完成了曹雪芹的未竟之业，使残缺的《红楼梦》成为完璧；尤其打破了中国传统小说的“团圆迷信”，使《红楼梦》成为中国小说史上首部悲剧小说，这在中国小说发展史上是一个伟大创举。我认为三位先生的这两点共识是客观公正的，是高见卓识。&lt;br /&gt;
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The above three authoritative scholars hold various comments on Gao E’s sequel, sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering A Dream in Red Mansions perfect. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes A Dream in Red Mansions the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:23, 6 November 2021 (UTC)&lt;br /&gt;
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The above three authoritative scholars hold various comments on Gao E’s sequel, but sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering the incomplete ''A Dream in Red Mansions'' complete. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes ''A Dream in Red Mansions'' become the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 9 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
晚近的某些“新红学家”尽管对高鹗大加挞伐，却无法推翻三位先生的这两点共识；最多只能进一步证明高鹗的续书比不上曹雪芹的原作，而不能抹煞高鹗续书的这两大功绩。我们可以设想，如果没有高鹗的续书，只能有两种结果：一是我们只能看到一部残缺不全的《红楼梦》，犹如只能欣赏一只断尾巴的孔雀；二是我们只能看到《红楼复梦》、《红楼圆梦》之类下三流续作，使《红楼梦》跳不出“团圆”小说的窠臼。&lt;br /&gt;
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Although some recent &amp;quot;new Redologists&amp;quot; criticized Gao E drastically, they could not overturn the consensus of the three gentlemen; at most, they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than erase the two achievements of Gao E's renewal. We can imagine that if we have no Gao E's sequel, there can only be two results: one is that we can only see an incomplete ''A Dream of Red Mansions'', like only enjoying a peacock with a broken tail, the other is that we can only see ''A Dream of Red Mansions Again'', ''A Dream of Red Mansions Reunion'' and other renewals that are third-classs, which makes ''A Dream of Red Mansions'' cannot jump out of the mold of &amp;quot;reunion&amp;quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)&lt;br /&gt;
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Although some recent “new Redologists” criticized Gao E drastically, they could not overturn the two consensuses of the three gentlemen; they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than obliterate the two achievements of Gao E's continuation. We can imagine that, without Gao E's sequel, there would be only two results: one is that we could only see an incomplete ''A Dream of Red Mansions'', as if we could only appreciate a peacock with a broken tail, the other is that we can only see such third-rate sequels like ''A Dream of Red Mansions'' Again, ''A Dream of Red Mansions Reunion'', making ''A Dream of Red Mansions'' cannot jump out of the set pattern of &amp;quot;reunion&amp;quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
因此，不仅我们应该感谢高鹗，如果曹雪芹地下有知，也会视高鹗为知己。胡适等三位先生论证了高鹗的两大功绩，就等于完全肯定了完整的一百二十回的《红楼梦》。但完整的《红楼梦》有两种版本，即“程甲本”和“程乙本”，两者的出版时间仅隔一年左右。&lt;br /&gt;
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Therefore, not only should we be grateful to Gao E, if Cao Xueqin was alive and knew about it, he would also regard Gao E as a confidant. Hu Shi and other three gentlemen demonstrated Gao E’s three achievements, which was equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the “Cheng A edition” and “Cheng B edition”, whose publishing interval was only about one year. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:35, 6 November 2021 (UTC)&lt;br /&gt;
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Hu Shi and other three gentlemen demonstrated gao e's two great achievements, which is equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the &amp;quot;Cheng Jiabo edition&amp;quot; and &amp;quot;Cheng Yibo edition&amp;quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
这两种版本究竟哪一种更好呢？当然是“程乙本”，因为它是高鹗对“程甲本”精心修订的定稿本。程伟元和高鹗在“程乙本”《〈红楼梦〉引言》中说：因急欲公诸同好，故初印时不及细校，间有纰缪。今复聚集各原本，详加校阅，改订无讹。&lt;br /&gt;
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Which of these two versions is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:12, 12 November 2021 (UTC)&lt;br /&gt;
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Which version is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:36, 22 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
惟阅者谅之。这就是说，高鹗续写后四十回并修订曹雪芹的前八十回时，“因急欲公诸同好”，未能像曹雪芹那样“批阅十载，增删五次”，而是匆促而成，在排印过程中又没有仔细校对，以致“纰缪”难免，因而立即加以修订再版，从而产生了“程乙本”。可见“程乙本”是对“程甲本”的“纰缪”加以修订的本子，自然胜于“程甲本”了。&lt;br /&gt;
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Only those who read it will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, &amp;quot;because he was anxious to be good to the public&amp;quot;, he failed to &amp;quot;review for ten years, add and delete five times&amp;quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &amp;quot;mistakes&amp;quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &amp;quot;the version of Cheng Yi&amp;quot;. It can be seen that &amp;quot;the version of Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;the version of Cheng Jia&amp;quot;, which is naturally better than &amp;quot;the version of Cheng Jia&amp;quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)&lt;br /&gt;
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Only readers will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, he was anxious to share it with the public, so he failed to review for ten years, add and delete five times as Cao Xueqin did.He hurried to finish it, not proofreading carefully in the process of typesetting, so mistakes were inevitable. Therefore, \ he immediately revised and reprinted another verison, resulting in appearing &amp;quot;Cheng Yi (the second) Edition&amp;quot;. It can be seen that &amp;quot; Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;Cheng Jia (the first) Edition&amp;quot;, which is naturally better than &amp;quot;Cheng Jia&amp;quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
然而由于出版商不加细较，以为初刊本更为可靠，以致在相当一段时间内，翻印的“程甲本”曾大行其道。直到1927年，胡适先生因亚东图书馆老板汪元放先生点校并出版过“程甲本”，便将自己珍藏的“程乙本”推荐给汪先生。汪先生便将“程乙本”与“程甲本”加以仔细对勘，并加上新式标点，予以出版。&lt;br /&gt;
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However, the publisher did not go into details, and believed that the first edition was more reliable. So in a fairly long period, the translated and printed “Cheng Jia (the first) Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Cheng Yi (the second) Edition” to the owner of Yadong Library, Mr. Wang Yuanfang after he heard that Mr. Wang had punctuated, proofead and published“Cheng Jia (the first) Edition”. Then Mr. Wang checked against another between “Cheng Jia” and “Cheng Yi” , added the new punctuation and published it.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:17, 10 November 2021 (UTC) &lt;br /&gt;
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However, the publisher did not proofread carefully and believed that the first edition was more reliable. So in a fairly long period, the printed “Chengjia Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Chengyi Edition” to Mr. Wang Yuanfang who was the owner of Yadong Library because Mr. Wang once proofread and published “Chengjia Edition”. Then Mr. Wang contrasted “Chengjia Edition” with “Chengyi Edition” in detail and decided to add the  new-style punctuations to the latter and publish it.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 12 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
胡适先生并为该书写了《重印乾隆壬子本〈红楼梦〉序》。他在《序》文中说：现在印出的程乙本，就是那“聚集各原本，详加校阅，改订无讹”的本子，可说是高鹗、程伟元合刻的定本。这个改本有许多改订修正之处，胜于程甲本。&lt;br /&gt;
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Mr.Hushi wrote &amp;quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions'' for this book. In the preface, he said that the newly-printed Chengyi edition which was revised carefully by referring to all kinds of original editions to make sure no incorrect information in it, was the final edition made by Gao E and Cheng Weiyuan. This edition had many corrections so it was better than the Chengjia edition. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:47, 11 November 2021 (UTC)&lt;br /&gt;
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Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &amp;quot;''A Dream in Red Mansions''&amp;quot;'' for this book. In this preface, he said that the current printed Chengyi edition was the final edition made by Gao E and Cheng Weiyuan which was revised carefully by gathering all kinds of original editions to make sure no incorrect information was in it. This edition had many corrections so it was much better than the Chengjia edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:58, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
但这个本子发行在后，程甲本已有人翻刻了；初本的一些矛盾错误仍旧留在现行各本里，虽经各家批注里指出，终没有人敢改正。胡适先生并举了三个例子，以证明“程乙本”胜于“程甲本”。由此可知，胡适先生不仅是第一个发现并公开指出“程乙本”胜于“程甲本”的人，而且推荐并贡献出了自己珍藏的“程乙本”初刊本，为“程乙本”后来的广泛流行起了决定性的作用。&lt;br /&gt;
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But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors from the original edition still remained in the current edition. Although many literary masters has pointed out these mistakes in their annotations, no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, which played a decisive role in the wide popularity of this edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 00:55, 7 November 2021 (UTC)&lt;br /&gt;
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But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors of the original edition still remained in the current edition. Although many literary masters had pointed out these mistakes in their annotations, but no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, and that played a decisive role in the wide popularity of its  edition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 06:19, 7 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
汪原放先生也没有辜负胡适先生的重托，不仅出版了“程乙本”，而且对两个“程本”加以仔细对勘，并用增删改动文字的统计数字与具体例子（详见下文），进一步证明了“程乙本”优于“程甲本”。由于胡适先生的学术威望和汪原放先生点校的“程乙本”面世，尤其是“程乙本”确实胜于“程甲本”，故此后书商大多舍弃了“程甲本”，竞相刊印“程乙本”，“程乙本”几乎一统天下。这种局面一直持续到上世纪五六十年代。&lt;br /&gt;
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Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &amp;quot;Cheng Yiben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Yiben&amp;quot;, and changed the statistics and specific examples (see below for details), further proving that &amp;quot;Cheng Yiben&amp;quot; was better than &amp;quot;Cheng Jiaben&amp;quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &amp;quot;Cheng Yiben&amp;quot; were published, especially &amp;quot;Cheng Yiben&amp;quot; was indeed better than &amp;quot;Cheng Jiaben&amp;quot;, so most booksellers abandoned &amp;quot;Cheng Jiaben&amp;quot; and competed to print &amp;quot;Cheng Yiben&amp;quot;, &amp;quot; Cheng Yiben &amp;quot; almost unified the whole world. The situation has been continuing until the 1950s and 1960s.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:48, 6 November 2021 (UTC)&lt;br /&gt;
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &amp;quot;Cheng Yi Ben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Ben&amp;quot;, and further proved that &amp;quot;Cheng Yi Ben&amp;quot; was better than &amp;quot;Cheng Jia Ben&amp;quot; with statistics and specific examples of adding, deleting and changing words (see below for details). Due to the academic prestige of Mr. Hu Shi and the appearance of &amp;quot;Cheng Yi Ben&amp;quot; ordered by Mr. Wang Yuanfang, especially &amp;quot;Cheng Yi Ben&amp;quot; is indeed better than &amp;quot;Cheng Jia Ben&amp;quot;, most booksellers abandoned &amp;quot;Cheng Jia Ben&amp;quot; and competed to publish &amp;quot;Cheng Yi Ben&amp;quot; and &amp;quot;Cheng Yi Ben&amp;quot; almost dominates the world. This situation lasted until the 1950s and 1960s.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:31, 7 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
然而到了八十年代以后，“程乙本”一统天下的局面却被打破了，各种版本的《红楼梦》纷纷涌现，其中多为拼凑本，即前八十回采用抄本，后四十回则多采用高鹗作废了的“程甲本”，从而造成了《红楼梦》版本的混乱现象。这种混乱现象使本来已经解决了的《红楼梦》版本问题又重新出现纷争，也使普通读者陷入了不知如何选择《红楼梦》的境地。&lt;br /&gt;
However, after the 1980s, the situation of &amp;quot;Cheng Yi Ben&amp;quot; dominating the world was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were piecemeal copies, that is, the transcripts of the first 80 chapters were used, and the &amp;quot;Cheng Jia Ben&amp;quot; cancelled by Gao e was used in the last 40 chapters, resulting in the confusion of the version of The Dream of Red Mansions. This chaotic phenomenon makes the original version of The Dream of Red Mansions once again controversial, and makes ordinary readers fall into the situation of not knowing how to choose a dream of Red Mansions.&lt;br /&gt;
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However, after the 1980s, the dominating situation of &amp;quot;Cheng Yi version&amp;quot;was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were cobbled together, where the first eighty editions used the codified version, while the last forty editions mostly used Gao E's cancelled Cheng Jia version, thus causing confusion in the version of a Dream of Red Mansions.This kind of confusion makes the issue of the edition of a Dream of Red Mansions reappear, and also makes ordinary readers have no idea how to choose a Dream of Red Mansions.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:27, 10 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
钱锺书先生虽然不研究《红楼梦》，但对《红楼梦》版本的混乱现象却很不以为然。他在上世纪九十年代说过（大意）：《红楼梦》研究中的许多纠葛与纷争，大多源于版本问题。在同一问题上，张三根据这个版本，李四根据那个版本，公说公有理，婆说婆有理，一万年也说不清，实在无谓得很。&lt;br /&gt;
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Although Qian zhongshu never study ''The Dream of Red Mansions'', he considers that the phenomenon of mess versions does not really matter.In the 1990s, he said that (roughly meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:23, 10 November 2021 (UTC)&lt;br /&gt;
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Although Qian zhongshu never study ''The Dream of Red Mansions'', he considered disapprovingly that the phenomenon of chaos versions does not really matter.In the 1990s, he said that (a rough meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:47, 10 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
这是《红楼梦》的悲剧，也是中国学界的悲剧。为了永久保存《红楼梦》这笔珍贵遗产，也为了给广大读者提供一个《红楼梦》的范本，必须从众多版本中确定一个最好的版本，而这个版本就是胡适先生推荐的“程乙本”。至于其他版本，则只供研究之用。&lt;br /&gt;
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This is not only the tragedy of The Dream of the Red Chamber , but also the tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of The Dream of the Red Chamber and provide readers with a model of The Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &amp;quot;Cheng Yi version&amp;quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:00, 6 November 2021 (UTC)&lt;br /&gt;
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This is not only a tragedy of Dream of the Red Chamber , but also a tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of Dream of the Red Chamber and provide readers with a model of Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &amp;quot;Cheng Yi version&amp;quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:15, 7 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
我完全赞成以上诸位先生的看法，毋须我再费笔墨，所以我在这里只是为他们的看法提供一些实例。首先，“程乙本”的前八十回由于经过了高鹗(也许还有程伟元)的大量修订，较之诸抄本大有改观，使之更加完善。具体来说，就是对众多异文加以筛选，去除讹误，择善而从，并加以必要的补阙、修改、删节和增饰。&lt;br /&gt;
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I totally agree with the views of the above teachers, so I don't need to say more, so I will just provide some examples for their views here. First of all, the first eighty books of &amp;quot;Cheng Yi version&amp;quot; have been revised extensively by Gao Osprey (and perhaps Cheng Wei Yuan), which is a great improvement over the codices and makes it more perfect. Specifically, it is the screening of many different texts, the removal of errors, the selection of good, and the necessary additions, modifications, abridgments and additions.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 10:56, 7 November 2021 (UTC)&lt;br /&gt;
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I totally agree with the opinions of you all, so I don't bother to say more. So I will just provide some examples for their views here. First of all, the first eightith chapters of &amp;quot;Cheng Yi's version&amp;quot; have been revised for many times by Gao Osprey (and perhaps Cheng Wei Yuan), which is an improvement over the codices and makes it more perfect. Specifically, it made a selection from many different texts, corrected errors, selected the good, and offered the necessary additions, modifications, removal and polishment.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:28, 8 November 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
试举六例如下：例一：原作第十七、十八两回合用一套回目，第十九回没有回目。高鹗将那套合用的回目归第十七回，而为第十八、十九两回补拟了回目。例二：原作第十八回写元妃省亲回府，“只见园中香烟缭绕，花彩缤纷，处处灯光相映，时时细乐声喧，说不尽太平景象，富贵风流”，下面却接着有这样一段：此时自己回想当初在大荒山中青埂峰下，那等凄凉寂寞。&lt;br /&gt;
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Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have have any. Gao-E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.&lt;br /&gt;
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Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have any. Gao'E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:55, 14 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
若不亏癞僧、跛道二人携来到此，又安能得见这般世面？本欲作一篇《灯月赋》、《省亲颂》，以志今日之事，但又恐入了别书的俗套。按此时之景，即作一赋一赞，也不能得尽其妙；即不作赋、赞，其豪华富丽，观者诸公亦可想而知矣。&lt;br /&gt;
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If the Monk and the Taoist don't bring me here, how could I can see such elephant. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. The scene of this period, we can't get its wonderful in length even we write a praise. And if we don't write, the viewer also can imagine its luxurious richly.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 10 November 2021 (UTC)&lt;br /&gt;
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If not the monk with scappy head and the lame Taoist priest bring me here, how could I can see such the world like this. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. In the scene of this period, we can't get the wonderfulness in length even we write a praise. And if we don't write, the viewer also can imagine its luxury and richness.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 02:18, 12 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
所以倒是省了这工夫纸墨，且说正经的为是。本书前面已经交代得明明白白，大荒山青埂峰下的那块石头被一僧一道携入红尘后已幻化为口衔通灵宝玉的贾宝玉，而从这段话看，那块石头的化身却是贾元春，难道姐弟二人都是那块石头所化吗？如果说这段话的前大半截是写贾宝玉的心理活动，误安在了贾元春的头上，也还是说不通，因为不可能在描写贾元春省亲观感的文字当中无缘无故插入一段对贾宝玉的心理描写。&lt;br /&gt;
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Therefore the time to write them is saved, and it is time to talk something serious. It has been clearly explained in the front of this book that the stone under the Loveroot Peak of the Great Wilderness Mountain has been transformed into Precious Jade Merchant with psychic jade in his mouth after being brought into the world by a monk and a Taoist priest. From this paragraph, however, the incarnation of that stone is First Spring Merchant. Are both the sister and brother transformed by that stone? If the first half of this paragraph is about Precious Jade Merchant's psychological activities, and is mistakenly thought as First Spring Merchant's, it still doesn't make sense. Because it is impossible to insert a psychological description of Precious Jade Merchant into the words describing First Spring Merchant's feelings about relatives for no reason.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:16, 10 November 2021 (UTC)&lt;br /&gt;
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If the first half of this paragraph is about Precious Jade Merchant's psychological activities, which is mistakenly thought as First Spring Merchant's, it still doesn't make sense. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
尤为荒唐的是，从“观者诸公”以下文字，又突然变为作者的第三人称口气，更令人丈二金刚，摸不着头脑。如此语无伦次的拙劣文字，决非曹雪芹的原文，而是抄书者的误抄或窜文。“程乙本”将其全部删除，犹如割除了一个赘瘤，使行文变得合理而又通畅。&lt;br /&gt;
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What is particularly absurd is that, from the following words &amp;quot;all the audience&amp;quot;, and suddenly into the third person tone of the author,which is even more puzzling. Such incoherent poor text, not Cao Xueqin's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:58, 7 November 2021 (UTC)&lt;br /&gt;
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Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:50, 29 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
例三：原作第二十二回写荣国府作灯谜游戏，目的在于通过各人制作的灯谜，以暗示各自的性情、志向及将来结局，是全书的重要段落。大约因曹雪芹当时没有完全想好，故只写了贾母、贾政、元春、迎春、探春、惜春、宝钗的灯谜，而将宝玉、黛玉、湘云的灯谜暂缺，留待以后补写，不料曹雪芹突然去世，未及补写，致使原稿残缺。高鹗大胆地将原作宝钗的灯谜移作黛玉的灯谜，又增写了宝钗和宝玉的灯谜，我以为移得合理，增作也很精彩。&lt;br /&gt;
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Example 3: the 22nd episode of the original work is that everyone plays lantern riddles in the Jung-guo-Anwesen ，The purpose is to hint their temperament, aspirations and future outcome through the lantern riddles made by each person，It is an important paragraph of the whole book. It may be that Cao Xueqin Autor didn't think well at that time, so he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn't write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin Autor died suddenly and didn't have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:31, 12 November 2021 (UTC)&lt;br /&gt;
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Example 3: the 22nd chapter of the original work is that everyone plays lantern riddles in the Rong Mansion, The purpose is to hint their temperament, aspirations and future respectively through the lantern riddles made by each person，It is an important plot of the whole work. &lt;br /&gt;
Possibly because Cao Xueqin did not think well at that time, he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn’t write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin died suddenly and didn’t have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:58, 13 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
但高鹗也有失误和疏漏：失误在于删掉或漏掉了原作惜春的灯谜，疏漏在于未给湘云补写灯谜。惜春的灯谜我已补入第二十二回（参见该回原文及其注释），以弥补高鹗的失误；而湘云的灯谜却只好仍阙，成为永远的遗憾。例四：原作第二十五回在写王熙凤被魇魔法弄得精神错乱时，插入一段对薛蟠的描写：别人慌张自不必讲，独有薛蟠更比诸人忙到十分：又恐薛姨妈被人挤倒，又恐薛宝钗被人瞧见，又恐香菱被人臊皮──知道贾珍等是在女人身上做功夫的，因此忙的不堪。&lt;br /&gt;
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However, Gao E also made some mistakes and omissions: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I have added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But the lantern riddles of Fragrant-cloud History have yet to be unfilled, which becomes a permanent regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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However, Gao E also made a mistake and had an oversight: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I already added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But Fragrant-cloud History’s lantern riddles have yet to be unfilled, which becomes an eternal regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 14:51, 13 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
忽一眼瞥见了林黛玉风流婉转，已酥倒在那里。这段话十分荒谬：其一，贾、薛两家为近亲，贾珍与薛宝钗是表兄妹，贾珍怎么敢对表妹起歹心呢？薛蟠岂非杞人忧天？其二，薛蟠虽然混账，与林黛玉也是表兄妹，况且见面的机会很多，薛蟠怎么会“一眼瞥见了林黛玉”就“酥倒在那里”呢？&lt;br /&gt;
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Dragon Marshgrass's eye suddenly falling on  Mascara Jade Forest, he was so enchanted by her charms that he almost melted on the spot. This paragraph is very absurd: First, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin?  Isn't Dragon Marshgrass entertained imaginary and groundless fear? Second, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass“almost melted on the spot when his eye suddenly fell on Mascara Jade Forest”? --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:44, 12 November 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass suddenly caught a glimpse of Mascara Jade Forest, who was pretty and gentle, and collapsed there. This paragraph is very absurd: Firstly, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin?  Isn't Dragon Marshgrass alarmist? Secondly, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet  Mascara Jade. How could Dragon Marshgrass “collapsed there because of a glimpse of Mascara Jade Forest”?--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:15, 14 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
而脂批竟称赞道：“忙中写闲，真大手眼、大手笔。”这如果不是偶然失误，便只能说是不识好歹了。“程乙本”将其删除，倒可当得起“大手眼、大手笔”的评语。例五：原作第六十三回中用了一千多字的篇幅，大写贾宝玉、史湘云等人只是为了好玩，如何将芳官、葵官打扮成“小土番儿”，如何改称“犬戎名姓”。&lt;br /&gt;
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However, the Zhi Yanzhai's critiques unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&amp;quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &amp;quot;Cheng Yi version&amp;quot; deletes it, it can be regarded as a comment of &amp;quot;big eyes and a big deal&amp;quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to capitalize the name of Precious Jade Merchant, Fragrant-cloud History and others, which is just for fun, and to describe how to dress Fragrant Official and Sunflower as &amp;quot;Xiao Tu Fan er&amp;quot; and how to change &amp;quot;the surname and name of Quan Rong&amp;quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)&lt;br /&gt;
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However, critiques of Zhi Yanzhai(one of the earliest critics of &amp;quot;A Dream in Red Mansions&amp;quot; )  unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really weighty.&amp;quot; If it was not an accidental mistake, it could only be said to be ungrateful. &amp;quot;Cheng Yi version&amp;quot; deleted it, thus it could be regarded as the comment of &amp;quot;weighty writings&amp;quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to describe that how Precious Jade Merchant, Fragrant-cloud History and others dress  Fragrant Official and Sunflower as &amp;quot;Xiao Tu Fan er&amp;quot; and how they changed &amp;quot;the name of Quan Rong&amp;quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
而且竟然让贾宝玉说出这样的话来：如今四海宾服，八方宁静，千载百载，不用武备。咱们虽一戏一笑，也该称颂，方不负坐享升平了。这种描写既十分无聊，又与贾宝玉的性格背道而驰，尤其侮辱了包括满族在内的少数民族，真可谓拙劣的文字，因此“程乙本”完全予以删除是绝对必要的。&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&amp;quot;Nowadays, people within Four Seas were all submitted and social stability was achieved in all directions. Weapons were not needed in nearly thousands of years. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&amp;quot; This kind of descriptions were very boring and ran counter to the characteristics of Precious Jade Merchant, and they particularly insulted national minorities including Manchu, which were really bad writings. Thus, it's quite necessary for &amp;quot;Cheng Yi's version&amp;quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&amp;quot;Nowadays, people from all over the world bow to our emperor, and social stability's greatly achieved. No military preparation's needed in the days ahead. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&amp;quot; Such descriptions are boring and against Baoyu's characteristic, and also insulted national minorities including Manchu, which are truly awful writings. Thus, it's quite necessary for Cheng&amp;amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
例六：原作第六十一回开头有一段写柳家的与小厮斗嘴的文字，既毫无意义，又有“几根×毛”、“×声浪嗓”的粗话，故“程乙本”删掉了百馀字也完全正确。像这样的例子不胜枚举，它们足可以证明，高鹗对前八十回的修订是完全必要和合理的，“程乙本”前八十回优于原作的事实是任何人也难以抹煞的。其次，再就两种“程本”而言，由于“程乙本”是“程甲本”的修订本，自然也就更加完善。&lt;br /&gt;
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Example six: The descriptive words about the argument between Liu's and his servant in the chapter sixty one of the original version are quite meaningless, and vulgarism like &amp;quot;some x hairs&amp;quot;,&amp;quot;some nasty voices&amp;quot; are also included at the same time，that's why the Cheng&amp;amp;Gao's second version had correctly deleted hundreds of words of the original one. Such examples are numerous and are solid proofs to the necessity and justifiability of Gao E's revision of original former eighty chapters, and it's also undeniable that former eighty chapters in the Cheng&amp;amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;amp;Gao's, the second version is obviously more perfect for it's revised on the base of the first one.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:33, 12 November 2021 (UTC)&lt;br /&gt;
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Example six: the original 61st back at the beginning of a paragraph to write the  fighting words by Liu and his following boy, not only meaningless, but also &amp;quot;a few pubic hair&amp;quot;, &amp;quot;obscene voice&amp;quot; of foul language, so &amp;quot;Cheng B book &amp;quot;deleted a few hundred words is also completely correct. Such examples are numerous, and they are sufficient to prove that the revision of the first eighty chapters by Gao Hu is completely necessary and reasonable, and the fact that the first eighty chapters of &amp;quot;Cheng B book&amp;quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &amp;quot;Cheng books&amp;quot;, since the &amp;quot;Cheng B book&amp;quot; is a revised version of the &amp;quot;Cheng A book&amp;quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
关于这一点，最有力的证据是一组现成的统计数字。前面说过，汪原放先生于1927年曾将“程乙本”与“程甲本”加以对勘，并将两者的异文作了统计，其结果是：“程乙本”较之“程甲本”改动(包括增与改)了总共21506字，其中前八十回改动15537字，后四十回改动5969字。(见汪原放《重印乾隆壬子本〈红楼梦〉校读后记》)这些改动主要有三个方面：其一，是对“程甲本”中的“纰缪”文字加以改正。&lt;br /&gt;
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About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot; changes (including increase and change) a total of 21506 words, including the first eighty chapters changed 15537 words, the last forty chapters changed 5969 words. (See Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the &amp;quot;Cheng A book&amp;quot; in the &amp;quot;error&amp;quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: a total of 21506 words (including complements and modifications) were changed in &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the modification of the &amp;quot;error&amp;quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
如第二回“冷子兴演说荣国府”中，“程甲本”对原作的如下一段文字未作改动：这政老爷的夫人王氏……第二胎生了一位小姐，生在大年初一，就奇了。不想次年又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。这位“小姐”就是贾元春(元妃)，这位“公子”就是贾宝玉。&lt;br /&gt;
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For example, the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; in chapter 2, &amp;quot;Cheng Jia's translation version&amp;quot; did not change the following text of the original work: The wife of Lord Zheng Mrs Wang…… gave birth to a girl on the first day of the lunar year,which was magical enough. It was even more magical that she gave birth to a boy in the next year: he was born with a colorful and crystal jade in his mouth, and the jade was written by some scripts. The &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)&lt;br /&gt;
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For example, in the &amp;quot;Son Happy Cold's speech in Glory Mansion&amp;quot; from chapter 2, the following text of the original work remained intact in &amp;quot;Cheng Jia(the first)edition&amp;quot;: Lady King, the wife of Master Merchant …… gave birth to her second child, a girl, on the first day of the lunar year, which was magical enough. It was even more magical that she gave birth to a boy in the following year:  when he was born, a colorful and crystal jade with many scripts on it was in his mouth. The &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
而这段文字显然与第十八回中的一段文字相矛盾：那宝玉未入学之先，三四岁时，已得元妃口传，教授了几本书，识了数千字在腹中：虽为姊弟，有如母子。&lt;br /&gt;
“有如母子”的贾元春和贾宝玉，不可能只差一岁，可见第二回那段文字有明显的“纰缪”。“程乙本”将“次年”改为“隔了十几年”，便合情合理了。&lt;br /&gt;
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This paragraph obviously contradicts with the description in the eighteenth chapter: before Precious Jade,at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had known thousands of words in his mind. They are sister and brother in blood relation, but more like mother and son. Precious Jade Merchant and First Spring Merchant, &amp;quot;like mother and son&amp;quot;,could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)&lt;br /&gt;
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While this paragraph obviously contradicts with one in the eighteenth chapter: before Precious Jade, at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had learned thousands of words in his mind. They are elder sister and younger brother, but more like mother and son. Precious Jade Merchant and First Spring Merchant could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
其二，是将文言词语尽量改为白话或俗语，从而使《红楼梦》的语言更为通俗易懂。譬如：“若”改为“要”，“与”改为“给”，“亦”改为“也”，“此”改为“这”，“口”改为“嘴”，“何”改为“为什么”，“如何”改为“怎么”，“如此”改为“这么着”，“葳蕤”改为“委琐”，等等。其三，是增加了许多“儿”字，将词语加以“儿”化，从而使《红楼梦》语言的京味特点更加突出。&lt;br /&gt;
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Secondly, classical words were changed into vernacular or colloquial language as far as possible so as to make the language of A Dream of Red Mansions more understandable. For instance: &amp;quot;ruo&amp;quot; was translated into &amp;quot;yao&amp;quot;(if), &amp;quot;yu&amp;quot; into &amp;quot;yao&amp;quot;(to), &amp;quot;yi&amp;quot; into &amp;quot;ye&amp;quot;(also), &amp;quot;ci&amp;quot; into &amp;quot;zhe&amp;quot;(this), &amp;quot;kou&amp;quot; into &amp;quot;zui&amp;quot;(mouth),&amp;quot;he&amp;quot; into &amp;quot;wei shen me&amp;quot;(why), &amp;quot;ru he&amp;quot; into &amp;quot;zen me&amp;quot;(how), &amp;quot;ru ci&amp;quot; into &amp;quot;zhe me zhao&amp;quot;(in this way), &amp;quot;weisui&amp;quot; into &amp;quot;weisuo&amp;quot;(obscene) and so on. Thirdly, lots of &amp;quot;er&amp;quot; were added into A Dream of Red Mansions, so that the Beijing flavor of the language in A Dream of Red Mansions is more distinct.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:08, 10 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
关于这一点，几乎随处可见，因而不再举例。《红楼梦》是一部近百万字的巨著，要想完全揭示“程乙本”的版本优点，只能将它与其他版本一一对勘，并将异文一一列出。单凭以上的简单说明，只能是挂一漏万。&lt;br /&gt;
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This point can be seen almost everywhere, so I will not give examples. “Dream of the Red Chamber” is a masterpiece of nearly one million words. If we want to fully reveal the merits of  &amp;quot;Cheng Yi's translation version&amp;quot;, we can only investigate it with other translation versions and list the differences one by one. The above simple explanation is still incomplete and full of omissions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 07:24, 10 November 2021 (UTC)&lt;br /&gt;
This point can be seen almost everywhere, so I don't want to give an example.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:25, 12 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
不过我可以向读者负责地保证：如果你是出于欣赏的目的阅读《红楼梦》，那么选择“程乙本”将是最明智的。三、校勘问题 我们说“程乙本”为《红楼梦》的最佳版本，并不是说它完美无缺，也不是说其他版本一概不如“程乙本”，只是说它在总体上更胜一筹而已。&lt;br /&gt;
But I can responsibly assure readers that if you are reading a Dream of Red Mansions for enjoyment, cheng Yiben is the wisest choice. To say that Cheng Yiben is the best version of a Dream of Red Mansions does not mean that it is perfect, nor that all other versions are inferior to Cheng Yiben, but that it is superior in general.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:23, 12 November 2021 (UTC)&lt;br /&gt;
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But I can responsibly assure readers that if you are reading ''A Dream of Red Mansions'' for enjoyment, Cheng Yi version is the wisest choice. Three: Revision. To say that Cheng Yi  version is the best version of ''A Dream of Red Mansions'' does not mean that it is perfect, nor that all other versions are inferior to Cheng Yi version, but that it is superior in general.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:42, 16 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
事实上，或因高鹗和程伟元的疏忽，或因排字工人的失误，致使“程乙本”仍存在不少“纰缪”。譬如：第八十六回说贾元春生于“甲申年正月丙寅”；至第九十五回则说：“是年甲寅年十二月十八日立春，元妃薨日是十二月十九日，已交卯年寅月，存年四十三岁。”“程甲本”和“程乙本”都是如此。&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day consort Yuan died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that  First Spring Merchant was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day Princess Merchant died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
而实际上前后存在明显矛盾：甲申年至甲寅年是三十年，按照当时以虚岁计算年龄的习惯，元妃享年应是三十一岁；即使因元妃薨于立春次日，算作乙卯年，也只有三十二岁。无论如何也不会是四十三岁。可见“程甲本”已错，而“程乙本”也没有订正。&lt;br /&gt;
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In fact,there is clear contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time,  Princess Merchant  would have been thirty-one years old; even if the death of  Princess Merchant  took place on the day after the first day of spring, which is counted as the year yi Mao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised.&lt;br /&gt;
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In fact,there is an obvious contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Yuan would have been thirty-one years old; even if the death of Princess Yuan took place on the day after the first day of spring, which is counted as the year YiMao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
这个明显的失误，早在1927年由汪原放校点、亚东图书馆出版的“程乙本”《红楼梦》已经改正，而上世纪八十年代以后出版的诸多号称经过了“精校”的“程甲本”和“程乙本”《红楼梦》，包括那些拼凑本，却依旧保留了这个失误，这不能不说是一种讽刺。其实“程乙本”的其他文字失误还有不少，并非像高鹗、程伟元所说“改订无讹”。“程乙本”既非十全十美，而我们要供献于读者的是一部普及本的《红楼梦》，因此有必要汲取其他版本的长处，使其尽量完美。&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yi Version&amp;quot; （a version of &amp;quot;A Dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927.  It is ironic that many &amp;quot;Cheng Jia Version&amp;quot; and &amp;quot;Cheng Yi Version&amp;quot;  published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yi Version&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yi Version&amp;quot; is not perfect, and what we want to offer to readers is a popular version of “A Dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:22, 7 November 2021 (UTC)&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yiben&amp;quot; （a version of &amp;quot;a dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927.  It is ironic that many &amp;quot;Cheng Jiaben&amp;quot; and &amp;quot;Cheng Yiben&amp;quot;, which claimed carefully checked and published after the 1980s , including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yiben&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yiben&amp;quot; is not perfect, and what we want to offer to readers is a widespread version of “a dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 8 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
为此，本书以“程乙本”(北京图书馆出版社影印本)为底本，以“程甲本”(北京图书馆出版社影印本)为主校本，并以下列版本为参校本：汪原放校勘“程乙本”(上海亚东图书馆刊本)、王希廉(雪香)评“程甲本”(清道光十二年刊本)、“梦稿本”“庚辰本”“己卯本”“甲戌本”(后四种均为上海古籍出版社影印本)。在以上八种版本中，前五种均为一百二十回全本，后三种均为前八十回的残存本。&lt;br /&gt;
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For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as master copy, “Cheng Jiaben” as main collated edition, and the followings as references—Wang Yuanfang’s collation “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s “Cheng Jiaben” commentary(edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:43, 8 November 2021 (UTC)&lt;br /&gt;
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For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as the master copy, “Cheng Jiaben” as the main collated edition, and the followings as references—Wang Yuanfang’s collation of “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s comments on “Cheng Jiaben” (edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:57, 8 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
我的校勘总原则是：既要尽量保持底本的原貌，又要保证全书的质量。具体来说则遵循以下几条：（一）底本与校本之间虽有异文，但底本基本可通者，即使校本文字更好，也不作改动。（二）底本中的各种错误(包括内容与文字的错误)、文字倒置、文理不通等，尽量用校本改正，若校本同样错误则径改。&lt;br /&gt;
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My primary principle of collation is that: maintain the original meaning of master copy, and garantee the quality through the book. Specifically, abiding by the following advice: One, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth remains untouched, even though the checked copy is better. Two: various mistakes in master copy（including errors in contents and text），the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, then it should be corrected directly.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 12:43, 7 November 2021 (UTC)&lt;br /&gt;
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My primary principle of collation is that: maintain the original meaning of master copy, and guarantee the book’s quality. To be more specific, following these advices: First, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth should be untouched, even though the checked copy is better. Second: various mistakes in master copy（including errors in contents and text), like the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy,  it should be corrected directly.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 06:46, 8 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
（三）底本和校本中的僻字、怪字、俗字，本来并无特别意义，毫无保留价值，只能为读者增加阅读障碍，因此径改为通用字。如“揌”和“”改为“塞”，“嘴”改为“努嘴”，“椅子”改为“拿椅子”，等等。（四）古人对别字多不在乎，故底本和校本中屡见不鲜，但在当今的读者看来却十分别扭，甚至可能被误解，因而酌情径改。&lt;br /&gt;
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Three, the rare words, strange words, common words in the master copy and in the checked copy had no special meaning, and no reservation value, can only increase the reading barrier for readers. So they need to be changed to universal words. Such as &amp;quot;揌&amp;quot; changed to “塞&amp;quot;, &amp;quot;嘴&amp;quot; changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; changed to &amp;quot;拿椅子&amp;quot;, etc. Four, the ancients didn’t care about the wrongly written characters, so it is common in the master copy and the checked copy. They seem very awkward for today's readers and may even be misunderstood.  Therefore they should be appropriately modified.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 14:12, 6 November 2021 (UTC)&lt;br /&gt;
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（3）Some characters in a copy for the record or for reproduction and in checked copy, which are not commonly used, or look strange, or are popular but irregular, have no special significance and no reserved value, only increasing the reading barrier for readers. Therefore, these characters are changed to universal characters. For example, &amp;quot;揌&amp;quot; are changed to &amp;quot;塞&amp;quot;, &amp;quot;嘴&amp;quot; is changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; is changed to &amp;quot;拿椅子&amp;quot; and so on.（4） The ancients didn't care much about the wrongly written characters, so they can be commonly seen in a copy for the record or for reproduction and in checked copy. However, when seeing these characters, today’s readers may feel awkward, and may even misunderstand their meanings. Thus they are supposed to be changed for appropriateness.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 7 November 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
如“必真”改为“逼真”，“奈烦”改为“耐烦”，“悔气”改为“晦气”，“渥”改为“焐”，“握”改为“捂”，等等。（五）有些字在古代汉语中可以通用（借用），在现代汉语中却严加区分。《红楼梦》也存在大量借用字，如果一一加以改动，不一定合适。&lt;br /&gt;
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For example, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;, &amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot; and so on. Some words can be commonly used (borrowed) in ancient Chinese, While in modern Chinese they are strictly distinguished. There are also a large number of loanwords  in the A Dream of Red Mansions, which may not be appropriate if changed one by one.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 6 November 2021 (UTC)&lt;br /&gt;
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For instance, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;,&amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot;, etc. Wait. Some characters can be used (borrowed) in ancient Chinese, but they are strictly distinguished in modern Chinese. There are also a lot of borrowed words in &amp;quot;A Dream of Red Mansions&amp;quot;. If you change them one by one, it may not be appropriate.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:44, 10 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
因此只有在以下两种情况之下才作改动：一是可能引起误解；二是同一词语而用字不同。如等同于数字“一”的“么”，极易与“什么”、“怎么”的“么”相混，故改为“幺”。又如表示时间的“一会”和“一回”混用，“一会儿”和“一回儿”混用，统一为“一会”和“一会儿”；表示位置的“旁”和“傍”混用，“旁边”和“傍边”混用，统一为“旁”和“旁边”；“赔礼”和“陪礼”混用，“赔罪”和“陪罪”混用，统一为“赔礼”和“赔罪”；等等。&lt;br /&gt;
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Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase but different words. For example, the &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicate position are mixed together, &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , Unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;; and so on.&lt;br /&gt;
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Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase formed by different words. For example, the &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and in case that  &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, they are unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;respectively ;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicating position are mixed together,and &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, so they are  unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , so they are unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
（六）本书采用简化汉字，为异体字的处理提供了方便，故一律按照简化汉字的规定处理。任何语言都在不断发展变化，故古今汉语有很大不同，以至于定字工作成为古籍整理中最为复杂的问题之一，很难做到尽善尽美。仅根据以上几条，只能是有助于减少读者的阅读障碍罢了。&lt;br /&gt;
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(Six) Simplified Chinese characters are used in this book to provide convenience for the processing of variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so ancient and modern Chinese is very different. Therefore, deciding which word to use has become one of the most complex problems in the collection of ancient books, which is difficult to be perfect. Just according to the above, it can only help reduce the difficulties in their reading.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 13:59, 8 November 2021 (UTC)&lt;br /&gt;
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Simplified Chinese characters are used in this book to provide convenience for the processing of the variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so great differences exist between ancient and modern Chinese. Therefore, deciding which word to use has become one of the most complex issues in the collection of ancient books, which is difficult to be perfect.According to the above, it can only help reduce the difficulties in readers' reading.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:23, 30 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
为了节省篇幅，一律不出校文。四、注释问题 “注释”亦称“注解”，最初是由于经书文字艰涩难懂，故对经书的字句加以解释；如果注文仍旧难懂或未尽其义，再对注文加以解释，则称“疏”。注文和疏文合称则谓之“注疏”。&lt;br /&gt;
&lt;br /&gt;
In order to save space, no proofread article will be published. Fourth,issues &amp;quot;explanatory note&amp;quot; is also called &amp;quot;annotation&amp;quot;. At first, it explained the words and sentences of the Scriptures because the texts of the scriptures were difficult to understand; if the annotations were still difficult to understand or did not fully understand the meaning, then the annotations will be explained, it was called &amp;quot; sparse&amp;quot;. The combination of Zhuwen and Shuwen is called &amp;quot;Notes and Shu&amp;quot;. &lt;br /&gt;
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In order to save space, no proofreading will be published. 4、 Annotation question &amp;quot;Annotation&amp;quot; is also called &amp;quot;Annotation&amp;quot;.At first, the words in the Scriptures were difficult to understand,therefore, explain the words and sentences in the scriptures; If the annotation is still difficult to understand or does not fulfill its meaning, and then explain the annotation, it is called &amp;quot;sparse&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==&lt;br /&gt;
后来逐步扩大范围，对一切文献中的疑难字句加以解释，均称之为“注释”。由于中国历史悠久，古今汉语及名物变化巨大，致使后人读古籍的困难越来越大，因此对古籍的注释也就显得越来越有必要。《红楼梦》虽是一部旧白话小说，但它汲取了诗、词、曲、赋、歌、诔等各种精华，又涉及谜语、酒令、建筑、服饰、珍禽异兽、奇花异卉、神话传说、名人秀女、琴棋书画、医卜星相、风俗礼仪等多种知识，白话文言间用，成语典故成堆。&lt;br /&gt;
&lt;br /&gt;
Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &amp;quot;notes&amp;quot;. Due to China's long history and great changes in ancient and modern Chinese ,which makes it more and more difficult for future generations to read ancient books. Therefore, it is more and more necessary to annotate ancient books. Although 《The Dream of Red Mansion》 is an old vernacular novel,but it has absorbed all kinds of essences such as poetry, CI, Qu, Fu, song, and so on.It also involves riddles, wine orders, architecture, clothing, rare birds and animals, exotic flowers&lt;br /&gt;
Myths and Myths and legends, celebrities and beauties, Qin, chess, calligraphy and painting, medical divination of stars, customs and etiquette and other knowledge are used between vernacular and Idioms and allusions pile up.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
对于一般读者来说，所有这些都可能是阅读中的绊脚石。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
本注释的使命就是为读者清除这些绊脚石，使阅读畅通无阻。&lt;br /&gt;
&lt;br /&gt;
This annotation is meant to remove the barriers in  reading and make it easier to read.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
因此凡是我认为可能影响读者阅读的地方，便予以注释，决不假装视而不见，决不避难就易。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
为了节省篇幅，我仅举一例。第五十六回“敏探春兴利除宿弊，贤宝钗小惠全大体”中，有贾探春与薛宝钗谈论经济的一段话：&lt;br /&gt;
In order to save space, I will give just one example. In the fifty-sixth chapter, &amp;quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&amp;quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
宝钗笑道：“真真膏粱纨袴之谈。你们虽是千金，原不知道这些事。&lt;br /&gt;
Baochai smiled and said: &amp;quot;It's really tempting to talk about it. Although you--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:09, 6 November 2021 (UTC) are a daughter, you don't know these things.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
但只你们也都念过书，识过字的，竟没看见过朱夫子有一篇《不自弃文》么？”&lt;br /&gt;
But if you have all studied and read, haven't you seen Master Zhu's article &amp;quot;Don't Abandon Oneself&amp;quot;?&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
探春笑道：“虽也看过，不过是勉人自励，虚比浮词，那里真是有的？”&lt;br /&gt;
Tanchun said and smile, &amp;quot;Although I have seen it, it's just a matter of encouraging others to encourage themselves. It's a meaningless word. Is there really something happen?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
你才办了两天事，就利欲熏心，把朱子都看虚浮了。&lt;br /&gt;
You have been working on it for two days only, and blinded by greed, you have made ZhuZi look vain.--[[User:HIKMET ONCU KADIOGLU|HIKMET ONCU KADIOGLU]] ([[User talk:HIKMET ONCU KADIOGLU|talk]]) 16:52, 6 November 2021 (UTC)&lt;br /&gt;
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You have only been doing things for two days, then you desire for money and profit fascinated the heart, and you think Zhu Zi is Unrealistic. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:29, 8 November 2021 (UTC)Akira Jantarat&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”&lt;br /&gt;
&lt;br /&gt;
If you go to a larger world and see greater benefits or disadvantages, I am afraid you will be a little bit down on what Kongzi said.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 14:19, 6 November 2021 (UTC)Akira&lt;br /&gt;
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If you go out again and see the pros and cons of major events, you will be even more deceptive!--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:50, 7 November 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
探春笑道：“你这样一个通人，竟没看见《姬子》书？&lt;br /&gt;
&lt;br /&gt;
Tan-tschun Smiled and said &amp;quot;you are such a familiar person, but have you read the &amp;quot;Ji Zi&amp;quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Tan-tschun smiled and said: &amp;quot;You are such a familiar person, but haven't you read the book &amp;quot;Ji Zi&amp;quot;? --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
当日《姬子》有云：‘登利禄之场，处运筹之界者，穷尧舜之词，背孔孟之道。’”&lt;br /&gt;
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On that day, &amp;quot;Jizi&amp;quot; said: ‘The field of Deng Lilu, those who are in the realm of management, are poor in the words of Yao and Shun, and recite the way of Confucius and Mencius. ’&amp;quot;&lt;br /&gt;
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW&lt;br /&gt;
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)&lt;br /&gt;
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There was a saying in ''Himeko'' that day: &amp;quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
宝钗笑道：“底下三句呢？”探春笑道：“如今断章取义，念出底下一句，我自己骂我自己不成？”&lt;br /&gt;
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Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now that I have read the next sentence out of context, can I blame myself for failing?&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)&lt;br /&gt;
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Translation: Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&amp;quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。&lt;br /&gt;
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Translation: In this passage, Zhu Xi's &amp;quot;don't abandoned the text--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)&amp;quot; and the book &amp;quot;Ji Zi&amp;quot; are mentioned.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
我所看到的几个《红楼梦》注本，对《不自弃文》有所注释，而对《姬子》却避而不注。&lt;br /&gt;
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I have read different annotations of ''A Dream in Red Mansions'', in which there are some explaination to ''No Self-surrender'' while no notes to ''Jizi''.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:21, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211124_homework&amp;diff=135080</id>
		<title>20211124 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211124_homework&amp;diff=135080"/>
		<updated>2021-12-31T07:40:37Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。&lt;br /&gt;
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I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:22, 30 December 2021 (UTC)&lt;br /&gt;
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I wonder: &amp;quot;don't abandon yourself&amp;quot; is the title, and &amp;quot;Ji Zi&amp;quot; is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes. &lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。&lt;br /&gt;
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Even if it is noted as &amp;quot;Ji Zi&amp;quot; unknown &amp;quot;, it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)&lt;br /&gt;
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Even if it is noted as &amp;quot;unknown Ji Zi&amp;quot; , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。&lt;br /&gt;
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Therefore, I first made reference htiw &amp;quot;Chinese Classical Digital Engineering&amp;quot; and confirmed that there was no such a book called &amp;quot;Ji Zi&amp;quot; in China, which was completely written by Cao Xueqin, just as Cao Xueqin wrote &amp;quot;General Examination of Ancient and Modern Characters&amp;quot; and &amp;quot;Selected Chinese Writings in Past Dynasties&amp;quot;. Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called &amp;quot;Ji Zi&amp;quot; in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was  ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。&lt;br /&gt;
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According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.&lt;br /&gt;
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According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is.  In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。&lt;br /&gt;
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There are three points in his conclusion: one, ''Ji Zi'' is &amp;quot;the author fabricated&amp;quot;, and to the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot; is also fabricated and as proof. Second, &amp;quot;this turns out to be a joke&amp;quot;, is Tanchun &amp;quot; take ''Ji Zi'' to resist&amp;quot; Baochai and used to press people by citing Zhu Zi and Confucius, and &amp;quot;higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)&lt;br /&gt;
There are three points in his conclusion: first, ''Ji Zi'' is &amp;quot;fabricated by the author&amp;quot;, and can be proved by the fabrication of the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot;. Second, &amp;quot;this turns out to be a joke&amp;quot;, which Tanchun &amp;quot; held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。&lt;br /&gt;
Thirdly, &amp;quot;Someone may ask why messing around and making a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)&lt;br /&gt;
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Thirdly, &amp;quot;Someone may ask why to mess around and make a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s  ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。&lt;br /&gt;
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As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of  ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)&lt;br /&gt;
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As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named  ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage  was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìna 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。&lt;br /&gt;
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Saying this rare writing through Precious Hairpin Marshgrass,  on the one hand Cao Xueqin showed her strong love of reading  as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not  casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。&lt;br /&gt;
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Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。&lt;br /&gt;
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Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)&lt;br /&gt;
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Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。&lt;br /&gt;
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第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀&lt;br /&gt;
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Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.&lt;br /&gt;
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Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)&lt;br /&gt;
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Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.&lt;br /&gt;
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Chapter 1 Hidden Truth, in a vision, apprehends spirituality. Rainvillage Merchant, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人&lt;br /&gt;
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This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of  Hidden Truth as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)&lt;br /&gt;
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This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。&lt;br /&gt;
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The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant.&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。&lt;br /&gt;
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In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)&lt;br /&gt;
In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。&lt;br /&gt;
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It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, &amp;quot;The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)&lt;br /&gt;
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, &amp;quot;Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”&lt;br /&gt;
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know  what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. &amp;quot; The stone was overjoyed when he asked, &amp;quot;I don't know what word to engrave? Where to carry it? I hope to beg clearly.&amp;quot; the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, Kongkong daoren Dauist by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. Kongkong daoren Dauist examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:02, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure skies, &lt;br /&gt;
in vain I have been into the mortal world for many years. &lt;br /&gt;
These facts are of a former and after life,&lt;br /&gt;
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。&lt;br /&gt;
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As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)&lt;br /&gt;
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。&lt;br /&gt;
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is  better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to  lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)&lt;br /&gt;
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I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。&lt;br /&gt;
What does my master think?&amp;quot; Empty Taoist listen to say so, ponder a long time, will this &amp;quot;stone&amp;quot; review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:10, 29 December 2021 (UTC)&lt;br /&gt;
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What do I mean? &amp;quot; After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。&lt;br /&gt;
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love''. Kong Meixi of The Eastern Lu dynasty wrote the book ''Catalogue of Chinese Ancient Romance''.After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''The Twelve Flowers of Gold Mausoleum '', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)&lt;br /&gt;
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Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers of Gold Mausoleum'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?&lt;br /&gt;
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This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)&lt;br /&gt;
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This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。&lt;br /&gt;
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Now that the origin of ''The Story of the Stone'' is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)&lt;br /&gt;
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The origin of &amp;quot;The Story of the Stone&amp;quot; was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu city. In the city, the quarter around Brothel Gate was one of the most fashionable centres of wealth and nobility in the world of men.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。&lt;br /&gt;
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Outside the city of Brothel Gate, there was a Worldly Way and a Carnal Line was on the street. In the Carnal Line, there was an ancient temple called &amp;quot;Gourd Temple&amp;quot; owing to it`s narrow location. Next to the temple lived a hometown official named Fei Potterymaker, courtesy named Hidden; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei&lt;br /&gt;
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Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the &amp;quot;Gourd temple&amp;quot; for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。&lt;br /&gt;
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Hidden Truth had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Pity Zhen. One day in the hot summer, Hidden Truth was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。&lt;br /&gt;
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Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the object you have brought away？&amp;quot; he heard the Taoist inquire. To this question the Buddhist replied with a smile： &amp;quot;Set your mind at ease，&amp;quot; he said； &amp;quot;there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)&lt;br /&gt;
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Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the thing you have brought away？&amp;quot; He heard the Taoist inquire. The Buddhist replied with a smile: &amp;quot;Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。&lt;br /&gt;
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Taking this opportunity, we can mingle it in them and let it experience the life on earth.&amp;quot; The Taoist said: &amp;quot;So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled.&amp;quot; The monk said: &amp;quot;It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)&lt;br /&gt;
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Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: &amp;quot;The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: &amp;quot;It's a funny story....--  --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。&lt;br /&gt;
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This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace. He often walked along the bank of West Sacred River where he saw a delicate and lovely Red Bead flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the Red Bead flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)&lt;br /&gt;
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Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun. One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace.But he always walks by the bank of the West Sacred River. One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。&lt;br /&gt;
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts  in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. &amp;quot;For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Red Bead Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of the fairy Disenchantment, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I are going to the palace of the fairy Disenchantment, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also replied with manners.&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”&lt;br /&gt;
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Hidden Truth said: &amp;quot;What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then said, &amp;quot;I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is something metaphysical and cannot be divulged in advance.  At that time, just don't forget the two of us, and you will be free from your predicament.&amp;quot; When Hidden Truth heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:48, 29 December 2021 (UTC)&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。&lt;br /&gt;
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He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)&lt;br /&gt;
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Then he said as he took it out and handed it to Hidden Truth. Hidden Truth took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the Illusory Land and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。&lt;br /&gt;
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And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “ Illusory Land of Great Void ”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Hidden Truth also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)&lt;br /&gt;
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And that Taoist passed a large stone pagoda, written on it four big words, is &amp;quot;Taixu fantasy realm&amp;quot;. On both sides, there is a couplet saying: &amp;quot;Falsehood is true when it is true, and there is nothing where there is nothing&amp;quot;. Hidden Truth also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。&lt;br /&gt;
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Hidden Truth cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Pity Zhen in her arms. When Hidden Truth noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Zhen in her arms. Hidden Truth perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”&lt;br /&gt;
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Hidden Truth then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Hidden Truth’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。&lt;br /&gt;
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After listening to him,Hidden Truth knew that it's crazy words and ignored him.But the monk also said:&amp;quot;Give her to me,give her to me.&amp;quot; Hidden Truth was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)&lt;br /&gt;
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After listening to him, Hidden Truth knew that it was lunatic ravings and ignored him. But the monk complemented:&amp;quot;Give her to me, give her to me.&amp;quot; Hidden Truth got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。&lt;br /&gt;
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When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)&lt;br /&gt;
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”&lt;br /&gt;
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Hidden Truth understood and hesitated, intending to ask him where he came from. The Taoist said, &amp;quot;You and I don't need to go together. Three days later, I wait for you in Beimangshan Berg, meet together, with Dimness sales number.&amp;quot; The monk said, &amp;quot;The best, the best.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)&lt;br /&gt;
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Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: &amp;quot;You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number.&amp;quot; The monk said: &amp;quot;The most wonderful, the most wonderful.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。&lt;br /&gt;
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After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: &amp;quot;These two people must have a history.It's time to ask him,but now it's too late to regret.&amp;quot; Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)&lt;br /&gt;
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After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: &amp;quot;These two people surely had some backgrounds. I should have asked him, but it was too late to regret now.&amp;quot; Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Rainvillage Merchant.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。&lt;br /&gt;
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Rainvillage Merchant was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)&lt;br /&gt;
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Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。” &lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, &amp;quot; Sir, you are leaning on the door and looking at something. Is there any news in the market?&amp;quot; Shiyin smiled and said, &amp;quot;No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time.&amp;quot; --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)&lt;br /&gt;
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Since arriving in Beijing the year before last, Rainvillage Merchant found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Hidden Truth often met with him. At that moment, Rainvillage Merchant saw Hidden Truth, hurriedly saluted and said with smile, &amp;quot; An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?&amp;quot; Hidden Truth smiled and said, &amp;quot;Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my small studio, so that we can spend the long day together.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”&lt;br /&gt;
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While he was talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)&lt;br /&gt;
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While talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot; --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。&lt;br /&gt;
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HiddenTruth stood up hurriedly and said, &amp;quot; Excuse me.Please sit for a moment first, and I will entertain you at once.&amp;quot;Rainvillage Merchant also stood up and answered:&amp;quot; Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!&amp;quot; Said, Hidden Truth had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin hurriedly got up and thanked, &amp;quot;excuse the crime of cheating driving. Please sit down and my brother will accompany you.&amp;quot; Yucun got up and said, &amp;quot;please help yourself, sir. My late life is a regular guest. Why not wait a minute!&amp;quot; said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。&lt;br /&gt;
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Rain Village Merchant then got up and looked out. It turned out that it was a servant girl pinching flowers there:  appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When leaving, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.&lt;br /&gt;
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Rain Village Merchant was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。&lt;br /&gt;
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Rain Village Merchant that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Rian Village to think the girl was attracted by him and felt very excited. He believed that the girl must have  a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)&lt;br /&gt;
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The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth's family banquet has been completed, and another seat in the study, he came to the temple to invite Rainvillage Merchant. It turns out that since that day Yucun saw the Family of Zhen maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 11:23, 29 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Brother Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”&lt;br /&gt;
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Rainvillage Merchant laughed and hurriedly said, &amp;quot;No no, I just recite the words of the predecessors. You speak too highly of me!&amp;quot; he asked, &amp;quot;Why did you come here, sir?&amp;quot; Hidden Truth smiled, &amp;quot;Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Why did you come here, master?&amp;quot;&lt;br /&gt;
You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。&lt;br /&gt;
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Hearing this, Rainvillage Merchant did not refuse, but said with a smile: &amp;quot;Since I am indebted to you, I dare not live up to this feeling.&amp;quot; Then he and  Hidden Truth came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.&lt;br /&gt;
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They went to the court in front of Hidden Truth 's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly.  At that time, Flutes and  strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly.  At that time, the sound of flutes and  strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol. Rainvillage Merchant tossed it off and then signed. &amp;quot;Don't think this is just a talk after being drunk,&amp;quot; he said, &amp;quot;I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say so before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol for congratulation. Rainvillage Merchant tossed it off and then sighed: &amp;quot;Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say that before?&amp;quot; interjected Hidden Truth. &amp;quot;I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。&lt;br /&gt;
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Hidden Truth immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, &amp;quot;the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, &amp;quot;the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。&lt;br /&gt;
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Rainvillage Merchant and Hidden Truth drank until midnight and then dispersed. Hidden Truth sent Rainvillage Merchant to bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Rainvillage Merchant's bad conditions, Hidden Truth intended to write two recommendation letters for Rainvillage Merchant, so Rainvillage Merchant could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)&lt;br /&gt;
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These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。&lt;br /&gt;
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The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'&amp;quot; Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)&lt;br /&gt;
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When the family came back, they said, &amp;quot;The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'&amp;quot; When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。&lt;br /&gt;
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Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.&lt;br /&gt;
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Hidden Truth asked his family member trouble beginner to carry  Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。&lt;br /&gt;
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Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Hidden Truth and his wife felt something is about to go wrong when they found their daughter didn't go home all night.  They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)&lt;br /&gt;
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Being so anxious, Inspire Huo looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Hidden Truth and his wife felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。&lt;br /&gt;
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This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)&lt;br /&gt;
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This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。&lt;br /&gt;
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He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)&lt;br /&gt;
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。&lt;br /&gt;
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His father-in-law's name was Feng Su. His native place was  Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)&lt;br /&gt;
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His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)&lt;br /&gt;
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Seal Silence made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Seal Silence met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：&lt;br /&gt;
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When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)&lt;br /&gt;
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When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。&lt;br /&gt;
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The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people  know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)&lt;br /&gt;
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All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？&lt;br /&gt;
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All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but  remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)&lt;br /&gt;
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Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s  kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。&lt;br /&gt;
When the hermit heard it, he came up and said, &amp;quot;What are you talking about ?&amp;quot; I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, &amp;quot;If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。&lt;br /&gt;
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So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)&lt;br /&gt;
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So intelligent as Hidden Truth is, he  understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by  courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？&lt;br /&gt;
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive&lt;br /&gt;
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。&lt;br /&gt;
&lt;br /&gt;
Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”&lt;br /&gt;
&lt;br /&gt;
It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying &amp;quot;All right, all right !&amp;quot; Then Hidden Truth said, &amp;quot;let's go.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, &amp;quot;it's right, it's right!&amp;quot; Shiyin said, &amp;quot;let's go.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
== Headline text ==&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。&lt;br /&gt;
&lt;br /&gt;
He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
只得与父亲商议，遣人各处访寻，那讨音信。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无奈何，只得依靠着他父母度日。&lt;br /&gt;
&lt;br /&gt;
He was so helpless that he had to rely on his parents to survive.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
那封肃虽然每日抱怨，也无可奈何了。&lt;br /&gt;
Although Feng Su complained every day, he was helpless&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。&lt;br /&gt;
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
众人都说：“新太爷到任了。”&lt;br /&gt;
Everyone said: &amp;quot;The new grandfather has arrived&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。&lt;br /&gt;
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
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那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
The maid was startled, and thought to herself: &amp;quot;This official is so good-natured, but it looks like someone I've seen there.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
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于是进入房中，也就丢过，不在心上。&lt;br /&gt;
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Then she went into the room and laid the matter aside ，without taking it to heart.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
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至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”&lt;br /&gt;
&lt;br /&gt;
English:&lt;br /&gt;
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, &amp;quot;The county's grandfather's messenger is here for questioning!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
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封肃听了，唬得目瞪口呆。&lt;br /&gt;
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Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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不知有何祸事，且听下回分解。&lt;br /&gt;
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Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Psychic -- the abbreviation for &amp;quot;Psychic Treasure&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has &amp;quot;spiritual achievement&amp;quot; and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)&lt;br /&gt;
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That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky, because it has undergone training, has &amp;quot;spiritually achieved&amp;quot; and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《石头记》──此书的本名。&lt;br /&gt;
&amp;quot;Story of the Stone&amp;quot; - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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''The Story of the Stone'' is the name of the book.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:23, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211124_homework&amp;diff=135079</id>
		<title>20211124 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211124_homework&amp;diff=135079"/>
		<updated>2021-12-31T07:38:24Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。&lt;br /&gt;
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I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:22, 30 December 2021 (UTC)&lt;br /&gt;
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I wonder: &amp;quot;don't abandon yourself&amp;quot; is the title, and &amp;quot;Ji Zi&amp;quot; is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes. &lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。&lt;br /&gt;
&lt;br /&gt;
Even if it is noted as &amp;quot;Ji Zi&amp;quot; unknown &amp;quot;, it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Even if it is noted as &amp;quot;unknown Ji Zi&amp;quot; , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。&lt;br /&gt;
&lt;br /&gt;
Therefore, I first made reference htiw &amp;quot;Chinese Classical Digital Engineering&amp;quot; and confirmed that there was no such a book called &amp;quot;Ji Zi&amp;quot; in China, which was completely written by Cao Xueqin, just as Cao Xueqin wrote &amp;quot;General Examination of Ancient and Modern Characters&amp;quot; and &amp;quot;Selected Chinese Writings in Past Dynasties&amp;quot;. Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called &amp;quot;Ji Zi&amp;quot; in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was  ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。&lt;br /&gt;
&lt;br /&gt;
According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.&lt;br /&gt;
&lt;br /&gt;
According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is.  In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。&lt;br /&gt;
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There are three points in his conclusion: one, ''Ji Zi'' is &amp;quot;the author fabricated&amp;quot;, and to the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot; is also fabricated and as proof. Second, &amp;quot;this turns out to be a joke&amp;quot;, is Tanchun &amp;quot; take ''Ji Zi'' to resist&amp;quot; Baochai and used to press people by citing Zhu Zi and Confucius, and &amp;quot;higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)&lt;br /&gt;
There are three points in his conclusion: first, ''Ji Zi'' is &amp;quot;fabricated by the author&amp;quot;, and can be proved by the fabrication of the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot;. Second, &amp;quot;this turns out to be a joke&amp;quot;, which Tanchun &amp;quot; held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。&lt;br /&gt;
Thirdly, &amp;quot;Someone may ask why messing around and making a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)&lt;br /&gt;
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Thirdly, &amp;quot;Someone may ask why to mess around and make a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s  ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。&lt;br /&gt;
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As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of  ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)&lt;br /&gt;
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As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named  ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage  was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìna 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。&lt;br /&gt;
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Saying this rare writing through Precious Hairpin Marshgrass,  on the one hand Cao Xueqin showed her strong love of reading  as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not  casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。&lt;br /&gt;
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Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。&lt;br /&gt;
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Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)&lt;br /&gt;
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Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。&lt;br /&gt;
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第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀&lt;br /&gt;
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Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.&lt;br /&gt;
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Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)&lt;br /&gt;
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Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.&lt;br /&gt;
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Chapter 1 Hidden Truth, in a vision, apprehends spirituality. Rainvillage Merchant, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人&lt;br /&gt;
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This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of  Hidden Truth as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)&lt;br /&gt;
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This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。&lt;br /&gt;
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The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant.&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。&lt;br /&gt;
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In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)&lt;br /&gt;
In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。&lt;br /&gt;
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It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, &amp;quot;The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)&lt;br /&gt;
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, &amp;quot;Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”&lt;br /&gt;
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know  what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. &amp;quot; The stone was overjoyed when he asked, &amp;quot;I don't know what word to engrave? Where to carry it? I hope to beg clearly.&amp;quot; the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, Kongkong daoren Dauist by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. Kongkong daoren Dauist examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:02, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure skies, &lt;br /&gt;
in vain I have been into the mortal world for many years. &lt;br /&gt;
These facts are of a former and after life,&lt;br /&gt;
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。&lt;br /&gt;
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As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)&lt;br /&gt;
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。&lt;br /&gt;
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is  better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to  lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)&lt;br /&gt;
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I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。&lt;br /&gt;
What does my master think?&amp;quot; Empty Taoist listen to say so, ponder a long time, will this &amp;quot;stone&amp;quot; review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:10, 29 December 2021 (UTC)&lt;br /&gt;
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What do I mean? &amp;quot; After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。&lt;br /&gt;
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love''. Kong Meixi of The Eastern Lu dynasty wrote the book ''Catalogue of Chinese Ancient Romance''.After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''The Twelve Flowers of Gold Mausoleum '', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)&lt;br /&gt;
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Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers of Gold Mausoleum'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?&lt;br /&gt;
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This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)&lt;br /&gt;
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This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。&lt;br /&gt;
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Now that the origin of ''The Story of the Stone'' is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)&lt;br /&gt;
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The origin of &amp;quot;The Story of the Stone&amp;quot; was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu city. In the city, the quarter around Brothel Gate was one of the most fashionable centres of wealth and nobility in the world of men.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。&lt;br /&gt;
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Outside the city of Brothel Gate, there was a Worldly Way and a Carnal Line was on the street. In the Carnal Line, there was an ancient temple called &amp;quot;Gourd Temple&amp;quot; owing to it`s narrow location. Next to the temple lived a hometown official named Fei Potterymaker, courtesy named Hidden; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei&lt;br /&gt;
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Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the &amp;quot;Gourd temple&amp;quot; for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。&lt;br /&gt;
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Hidden Truth had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Pity Zhen. One day in the hot summer, Hidden Truth was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。&lt;br /&gt;
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Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the object you have brought away？&amp;quot; he heard the Taoist inquire. To this question the Buddhist replied with a smile： &amp;quot;Set your mind at ease，&amp;quot; he said； &amp;quot;there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)&lt;br /&gt;
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Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the thing you have brought away？&amp;quot; He heard the Taoist inquire. The Buddhist replied with a smile: &amp;quot;Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。&lt;br /&gt;
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Taking this opportunity, we can mingle it in them and let it experience the life on earth.&amp;quot; The Taoist said: &amp;quot;So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled.&amp;quot; The monk said: &amp;quot;It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)&lt;br /&gt;
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Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: &amp;quot;The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: &amp;quot;It's a funny story....--  --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。&lt;br /&gt;
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This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace. He often walked along the bank of West Sacred River where he saw a delicate and lovely Red Bead flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the Red Bead flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)&lt;br /&gt;
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Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun. One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace.But he always walks by the bank of the West Sacred River. One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。&lt;br /&gt;
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts  in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. &amp;quot;For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Red Bead Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of the fairy Disenchantment, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I are going to the palace of the fairy Disenchantment, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also replied with manners.&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”&lt;br /&gt;
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Hidden Truth said: &amp;quot;What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then said, &amp;quot;I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is something metaphysical and cannot be divulged in advance.  At that time, just don't forget the two of us, and you will be free from your predicament.&amp;quot; When Hidden Truth heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:48, 29 December 2021 (UTC)&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。&lt;br /&gt;
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He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)&lt;br /&gt;
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Then he said as he took it out and handed it to Hidden Truth. Hidden Truth took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the Illusory Land and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。&lt;br /&gt;
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And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “ Illusory Land of Great Void ”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Hidden Truth also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)&lt;br /&gt;
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And that Taoist passed a large stone pagoda, written on it four big words, is &amp;quot;Taixu fantasy realm&amp;quot;. On both sides, there is a couplet saying: &amp;quot;Falsehood is true when it is true, and there is nothing where there is nothing&amp;quot;. Hidden Truth also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。&lt;br /&gt;
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Hidden Truth cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Pity Zhen in her arms. When Hidden Truth noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Zhen in her arms. Hidden Truth perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”&lt;br /&gt;
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Hidden Truth then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Hidden Truth’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。&lt;br /&gt;
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After listening to him,Hidden Truth knew that it's crazy words and ignored him.But the monk also said:&amp;quot;Give her to me,give her to me.&amp;quot; Hidden Truth was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)&lt;br /&gt;
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After listening to him, Hidden Truth knew that it was lunatic ravings and ignored him. But the monk complemented:&amp;quot;Give her to me, give her to me.&amp;quot; Hidden Truth got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。&lt;br /&gt;
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When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)&lt;br /&gt;
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”&lt;br /&gt;
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Hidden Truth understood and hesitated, intending to ask him where he came from. The Taoist said, &amp;quot;You and I don't need to go together. Three days later, I wait for you in Beimangshan Berg, meet together, with Dimness sales number.&amp;quot; The monk said, &amp;quot;The best, the best.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)&lt;br /&gt;
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Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: &amp;quot;You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number.&amp;quot; The monk said: &amp;quot;The most wonderful, the most wonderful.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。&lt;br /&gt;
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After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: &amp;quot;These two people must have a history.It's time to ask him,but now it's too late to regret.&amp;quot; Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)&lt;br /&gt;
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After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: &amp;quot;These two people surely had some backgrounds. I should have asked him, but it was too late to regret now.&amp;quot; Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Rainvillage Merchant.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。&lt;br /&gt;
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Rainvillage Merchant was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)&lt;br /&gt;
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Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。” &lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, &amp;quot; Sir, you are leaning on the door and looking at something. Is there any news in the market?&amp;quot; Shiyin smiled and said, &amp;quot;No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time.&amp;quot; --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)&lt;br /&gt;
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Since arriving in Beijing the year before last, Rainvillage Merchant found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Hidden Truth often met with him. At that moment, Rainvillage Merchant saw Hidden Truth, hurriedly saluted and said with smile, &amp;quot; An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?&amp;quot; Hidden Truth smiled and said, &amp;quot;Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my small studio, so that we can spend the long day together.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”&lt;br /&gt;
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While he was talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)&lt;br /&gt;
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While talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot; --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。&lt;br /&gt;
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HiddenTruth stood up hurriedly and said, &amp;quot; Excuse me.Please sit for a moment first, and I will entertain you at once.&amp;quot;Rainvillage Merchant also stood up and answered:&amp;quot; Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!&amp;quot; Said, Hidden Truth had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin hurriedly got up and thanked, &amp;quot;excuse the crime of cheating driving. Please sit down and my brother will accompany you.&amp;quot; Yucun got up and said, &amp;quot;please help yourself, sir. My late life is a regular guest. Why not wait a minute!&amp;quot; said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。&lt;br /&gt;
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Rain Village Merchant then got up and looked out. It turned out that it was a servant girl pinching flowers there:  appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When leaving, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.&lt;br /&gt;
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Rain Village Merchant was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。&lt;br /&gt;
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Rain Village Merchant that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Rian Village to think the girl was attracted by him and felt very excited. He believed that the girl must have  a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)&lt;br /&gt;
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The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth's family banquet has been completed, and another seat in the study, he came to the temple to invite Rainvillage Merchant. It turns out that since that day Yucun saw the Family of Zhen maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 11:23, 29 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Brother Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”&lt;br /&gt;
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Rainvillage Merchant laughed and hurriedly said, &amp;quot;No no, I just recite the words of the predecessors. You speak too highly of me!&amp;quot; he asked, &amp;quot;Why did you come here, sir?&amp;quot; Hidden Truth smiled, &amp;quot;Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Why did you come here, master?&amp;quot;&lt;br /&gt;
You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。&lt;br /&gt;
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Hearing this, Rainvillage Merchant did not refuse, but said with a smile: &amp;quot;Since I am indebted to you, I dare not live up to this feeling.&amp;quot; Then he and  Hidden Truth came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.&lt;br /&gt;
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They went to the court in front of Hidden Truth 's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly.  At that time, Flutes and  strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly.  At that time, the sound of flutes and  strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol. Rainvillage Merchant tossed it off and then signed. &amp;quot;Don't think this is just a talk after being drunk,&amp;quot; he said, &amp;quot;I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say so before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol for congratulation. Rainvillage Merchant tossed it off and then sighed: &amp;quot;Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say that before?&amp;quot; interjected Hidden Truth. &amp;quot;I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。&lt;br /&gt;
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Hidden Truth immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, &amp;quot;the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, &amp;quot;the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。&lt;br /&gt;
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Rainvillage Merchant and Hidden Truth drank until midnight and then dispersed. Hidden Truth sent Rainvillage Merchant to bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Rainvillage Merchant's bad conditions, Hidden Truth intended to write two recommendation letters for Rainvillage Merchant, so Rainvillage Merchant could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)&lt;br /&gt;
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These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。&lt;br /&gt;
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The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'&amp;quot; Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)&lt;br /&gt;
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When the family came back, they said, &amp;quot;The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'&amp;quot; When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。&lt;br /&gt;
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Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.&lt;br /&gt;
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Hidden Truth asked his family member trouble beginner to carry  Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。&lt;br /&gt;
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Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Hidden Truth and his wife felt something is about to go wrong when they found their daughter didn't go home all night.  They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)&lt;br /&gt;
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Being so anxious, Inspire Huo looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Hidden Truth and his wife felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。&lt;br /&gt;
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This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)&lt;br /&gt;
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This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。&lt;br /&gt;
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He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)&lt;br /&gt;
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。&lt;br /&gt;
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His father-in-law's name was Feng Su. His native place was  Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)&lt;br /&gt;
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His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)&lt;br /&gt;
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Seal Silence made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Seal Silence met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：&lt;br /&gt;
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When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)&lt;br /&gt;
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When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。&lt;br /&gt;
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The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people  know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)&lt;br /&gt;
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All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？&lt;br /&gt;
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All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but  remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)&lt;br /&gt;
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Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s  kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。&lt;br /&gt;
When the hermit heard it, he came up and said, &amp;quot;What are you talking about ?&amp;quot; I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, &amp;quot;If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。&lt;br /&gt;
&lt;br /&gt;
So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So intelligent as Hidden Truth is, he  understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by  courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？&lt;br /&gt;
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive&lt;br /&gt;
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。&lt;br /&gt;
&lt;br /&gt;
Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”&lt;br /&gt;
&lt;br /&gt;
It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying &amp;quot;All right, all right !&amp;quot; Then Hidden Truth said, &amp;quot;let's go.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, &amp;quot;it's right, it's right!&amp;quot; Shiyin said, &amp;quot;let's go.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
== Headline text ==&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。&lt;br /&gt;
&lt;br /&gt;
He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
只得与父亲商议，遣人各处访寻，那讨音信。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无奈何，只得依靠着他父母度日。&lt;br /&gt;
&lt;br /&gt;
He was so helpless that he had to rely on his parents to survive.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
那封肃虽然每日抱怨，也无可奈何了。&lt;br /&gt;
Although Feng Su complained every day, he was helpless&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。&lt;br /&gt;
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
众人都说：“新太爷到任了。”&lt;br /&gt;
Everyone said: &amp;quot;The new grandfather has arrived&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。&lt;br /&gt;
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
The maid was startled, and thought to herself: &amp;quot;This official is so good-natured, but it looks like someone I've seen there.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
于是进入房中，也就丢过，不在心上。&lt;br /&gt;
&lt;br /&gt;
Then she went into the room and laid the matter aside ，without taking it to heart.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”&lt;br /&gt;
&lt;br /&gt;
English:&lt;br /&gt;
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, &amp;quot;The county's grandfather's messenger is here for questioning!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
封肃听了，唬得目瞪口呆。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
不知有何祸事，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Psychic -- the abbreviation for &amp;quot;Psychic Treasure&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has &amp;quot;spiritual achievement&amp;quot; and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky, because it has undergone training, has &amp;quot;spiritually achieved&amp;quot; and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
《石头记》──此书的本名。&lt;br /&gt;
&amp;quot;Story of the Stone&amp;quot; - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
''The Story of the Stone'' is the name of the book.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:23, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211110_homework&amp;diff=135078</id>
		<title>20211110 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211110_homework&amp;diff=135078"/>
		<updated>2021-12-31T07:29:31Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211110_homework|for Nov 10 - HLM Chapters 20-21]] etc.&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
按语：拙著《红楼梦全解本》出版后，受到了不少专家与读者的好评，甚为欣慰。但也有读者认为，如果能删掉部分注文，既不影响读者阅读，也可节省书的成本，使更多读者买得起。&lt;br /&gt;
&lt;br /&gt;
Note : After the publication of ''The Dream of Red Mansions(The Anotation Version)'', it was highly appreciated by many experts and readers. However, some readers believe that if some notes can be deleted, it will not affect readers ' reading and save the cost of the publication, so that more readers can afford it.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:02, 9 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Note: after my book the complete interpretation of Drdam Of Red Chamber was published, it was highly praised by many experts and readers. However, some readers believe that if some annotations can be deleted, it will not affect readers' reading, but also save the cost of the book and make it affordable for more readers.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
恰好中央编译出版社准备出版四大古典小说套书，为了平衡四部小说的注文，《红楼梦》的注文也嫌太长。因此接受读者的建议，将《红楼梦全解本》的注文删掉了差不多一半，其他一概未动；换言之，此版《红楼梦》校注本，实即《红楼梦全解本》的删节本（仅删注文）。因此《校注前言》仍用《红楼梦全解本》的《校注前言》，不再另写。&lt;br /&gt;
&lt;br /&gt;
It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of Dream Of the Red Chamber were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of Dream Of Red Chamber, and the rest remained unchanged; In other words, the revised annotation version of Dream Of Red Chamber is actually an abridged version of the complete interpretation of Dream Of Red Chamber (only the annotation is deleted). Therefore, the preface to proofreading still uses the preface to proofreading of the complete interpretation of Dream Of Red Chamber, and needn’t be written again.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
It happened that the Central Compilation and Translation Publishing House was preparing to publish four sets of classical novels. In order to balance the annotations of the four novels, the annotations of ''The Dream of the Red Chamber'' were too long. Therefore, we accepted the readers' suggestions and deleted almost half of the annotations in the complete interpretation of ''The Dream of Red Chamber'', and the rest remained unchanged; In other words, the revised annotation version of ''The Dream of Red Chamber'' is actually an abridged version of the complete interpretation of ''The Dream of Red Chamber'' (only the annotation is deleted). Therefore, ''The Preface to Proofreading'' still uses ''The Preface to Proofreading'' of the complete interpretation of ''Dream Of Red Chamber'', and needn’t be written again.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:32, 8 November 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
《红楼梦》以其包罗万象的内容，博大精深的思想，精湛完美的艺术，丰富生动的语言，尤其是众多栩栩如生的人物形象，不仅在中国小说史上奇峰独秀，而且在世界文学之林独树一帜。它是我国文化遗产中的珍品，值得每一个中国人所珍视。《红楼梦》在其尚未完稿的时候，已经被人竞相传抄，辗转传阅，不胫而走，蜚声神州。&lt;br /&gt;
&lt;br /&gt;
''A Dream of Red Mansions'' is unique not only in the history of Chinese novels, but also in the world literature with its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth cherishing by every Chinese. ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire even when it's unfinished. It is really well-known in China.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:23, 8 November 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
''A Dream of Red Mansions'' is outstanding not only in the history of Chinese novels, but also in the world literature for its comprehensive contents, extensive and profound thoughts, exquisite and perfect art, rich and vivid language, and especially its numerous vivid characters. It is a treasure of our country's cultural heritage and is worth being cherished by every Chinese.Before it is finished，  ''A Dream of Red Mansions'' has been copied, circulated and spread like wildfire and it is really well-known in China.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:25, 10 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==&lt;br /&gt;
不仅“士大夫几乎家有《红楼梦》一书”（清·潘炤《从心录》卷首），而且“家弦户诵，妇孺皆知”（清·缪艮《文章游戏初编》卷六）。上层社会更出现了“开谈不说《红楼梦》，读尽诗书也枉然”（清·得舆《京都竹枝词·时尚门》）的时尚。《红楼梦》的魅力也使其商业价值大增，“好事者每传抄一部，置庙市中，昂其值，得数十金，可谓不胫而走者矣”（清·程伟元《〈红楼梦〉序》）。&lt;br /&gt;
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''A Dream of Red Mansions'' was so popular that not only scholar officals（people obtain knowledge and wealth in feudal China） read it （the first volum of ''Essay'' by Pan Zhao, Qing），but also families，even women and children ， loved it（the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing）. Moreover ,there was a climate of ''A Dream of Red Mansions'' that the upper class believed &amp;quot; it is useless to read great books without ''A Dream of Red Mansions''.（''Bamboo Pole Poem in the Capital'' by De Yu, Qing）. The charm of  ''A Dream of Red Mansions'' also rose its business value as in record： “Someone who is willing to copy  ''A Dream of Red Mansions'' and sell it can raise 10 gold ingots everytime ，and everyone know it.（ the introduction of ''A Dream of Red Mansions'', Qing）.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:44, 7 November 2021 (UTC)&lt;br /&gt;
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Not only did &amp;quot;almost every scholar had a copy of ''A Dream of Red Mansions''&amp;quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &amp;quot;Every household recited it, and all women and children knew it&amp;quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &amp;quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&amp;quot; (''Bamboo Pole Poem in the Capital'' by De Yu, Qing Dynasty) emerged. The charm of A Dream of Red Mansions also made its commercial value increased greatly, &amp;quot;Those who are interested in it can get a lot of money by copying one of the books and selling it in the market. The information spread quickly.&amp;quot; (the introduction of ''A Dream of Red Mansions'', Qing Dynasty)--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:07, 8 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
至高鹗续写后四十回、由程伟元以活字正式出版完整的一百二十回本后，更出现了风行全国的盛况。时至今日，即使读不懂《红楼梦》的人，也都看过《红楼梦》电影或电视剧，对《红楼梦》的故事和人物无不耳熟能详。因此《红楼梦》已经不是普通的小说，而成为全民珍视的国宝了。&lt;br /&gt;
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After Gao E continued to write the second forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide. To this day, even those who do not understand ''A Dream of Red Mansions'' have seen the movie or TV series versions, and are familiar with the story and characters of ''A Dream of Red Mansions''. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:39, 8 November 2021 (UTC)&lt;br /&gt;
After Gao E continued to write the following forty chapters and Cheng Weiyuan officially published the complete one hundred and twenty chapters in movable type, the book became popular nationwide increasingly. To this day, even those who do not understand ''A Dream of Red Mansions'' have already seen the movie or TV series versions, and are familiar with the story and characters of it. Therefore, ''A Dream of Red Mansions'' is no longer an ordinary novel, but a national treasure cherished by all.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:37, 10 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
中国古代的文人墨客、传统学者、官僚士夫，无不鄙薄小说，最多被视为茶余饭后的谈资。唯独对《红楼梦》情有独钟，爱不释手。不仅百读不厌，而且像拜读经书般寻章摘句，眉批夹评，乐此不疲。&lt;br /&gt;
The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talk at most. But they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 08:33, 10 November 2021 (UTC)&lt;br /&gt;
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The ancient Chinese literats, traditional scholars, bureaucrats, all despised novels, and regarded them as after-dinner talks at most. However, they only showed special preference to ''The Dream of Red Mansions'', and fondled admiringly. They not only weren't tired of reading it, but also liked reading the Confucian classics as seeking remarkable passages and culling model sentences, making notes and commentaries, and always enjoying it.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 14:07, 12 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
久而久之，居然形成了“红学”。“红学”由起初对《红楼梦》的单纯评点，逐步发展成为对《红楼梦》及其作者的全面考证与研究，最后更成立了红学会，出版研究刊物，势头似乎越来越盛。这不仅是中国小说史上绝无仅有的，也是中国文学史上极其罕见的现象。&lt;br /&gt;
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As time passes, redology is actually formed. Redology was about pure comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study in ''A Dream in Red Mansion'' and its author. Finally, we even established redologist institution and published research periodicals, the momentum of redology more and more flourishing. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:29, 9 November 2021 (UTC)&lt;br /&gt;
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As time passes, redology is unexpectedly formed. Redology came into mere comments to ''A Dream in Red Mansion'' in the beginning and it gradually developed as the comprehensive textual research and study of this work and its author. Finally, redologist institution was established to publish research periodicals with more flourishing tendency than ever. This phenomenon is not only unique in the history of Chinese novels, but extremely rare in the history of Chinese literature.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 11:49, 10 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
遗憾的是，“红学家”们对《红楼梦》的作者及其版本似乎偏爱有加，而对《红楼梦》的思想和艺术价值却缺乏足够的兴趣，因此考证作者和版本的文章和著作连篇累牍，而研究《红楼梦》思想和艺术价值的成果却寥若晨星。我认为这是本末倒置。一个作家的价值不在于其生平如何，而在于其作品的思想和艺术水平的高低；是作品决定作家的价值，而不是作家决定作品的价值。&lt;br /&gt;
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Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seemingly are partial to research on the writer and verison of this book, but are short of interest for it's thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:31, 6 November 2021 (UTC)&lt;br /&gt;
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Unfortunately, redologists ( who are specialists in A Dream of the Red Chamber) seem to prefer  to research on the writer and versions of this book, but are short of interest in the thought and artistic value. And therefore there are a lot of articles and books about the former while very few about the latter. It seems to me that puts the cart before the horse. What a writer is worth lies in thoughts and artistic level in his/her works but not in his/her life story; and the value of a writer depends on his/her production, not vice versa.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 9 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
读者对于作品的选择与评价，也只着眼于作品本身，而非作家本人。一部伟大的作品，即使作者佚名，也不影响其伟大，照样受到读者的追捧；相反，如果一个伟大作家偶然写了一部低劣的作品，读者也决不买账。因此“红学”的研究重点应该是《红楼梦》本身，而不是《红楼梦》作者。&lt;br /&gt;
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Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the valued of a great work is definitely unlikely to be underestimated, which is still welcomed by the public. Likewise, readers cannot be attracted by the inferior work written by a great writer. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:01, 9 November 2021 (UTC)&lt;br /&gt;
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Readers' choice and evaluation towards works is based on the works themselves, rather than the writers. As anonymous is the writer, the values of a great work are definitely unlikely to be underestimated, which is still popular with the public. Likewise, readers cannot be attracted by a low-quality work even written by a great writer occasionally. Therefore, redology is supposed to focus on the context, instead of the writer Cao Xueqin.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:02, 10 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
当然也应该了解作者，但目的只是为了有助于深入了解《红楼梦》，仅此而已。我认为要想深入研究《红楼梦》，首先必须完全读懂《红楼梦》。如果对《红楼梦》的文本只是一知半解，那么所谓研究，势必如医生不明病人的病情而乱开药方，不仅治不好病，倒可能致人于死命。&lt;br /&gt;
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Certainly, we should also know the author, but the purpose is nothing more than to help us understand ''A Dream of Red Chamber'' in depth. I think that in order to make a further research on ''A Dream of the Red Chamber'', we must first have a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Chamber'', then the so-called research would definitely be like the prescriptions prescribed indiscriminately without knowing the patient's condition. Not only can it not cure the disease, but it may lead to death.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:53, 6 November 2021 (UTC)&lt;br /&gt;
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Certainly, we should also know about the author, but only with the purpose of deepening our understanding of the work. I think that further researches on ''A Dream of Red Mansions'' necessitate a thorough understanding of it. If we have only a sketchy knowledge of the text of ''A Dream of Red Mansions'', then the so-called research would definitely be like the prescriptions written indiscriminately by a doctor unaware of the patient's condition. Not only can it not cure the disease, but it may lead to death. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:04, 7 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
《红楼梦》研究中的许多无谓争论，正是研究者没有读懂《红楼梦》或对《红楼梦》文本的不同理解所致。因此对《红楼梦》文本的注释，显然是《红楼梦》研究的基础工作。其次，当今的读者和观众虽然热衷于《红楼梦》，但真正能够全面深入理解《红楼梦》的人恐怕并不很多。&lt;br /&gt;
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A great many arguments regarding the study of ''A Dream of Red Mansions'', caused either by an incomplete understanding or different understandings of the text, are pointless. Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 03:09, 7 November 2021 (UTC)&lt;br /&gt;
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Many unnecessary arguments in the study of ''A Dream of Red Mansions'' are caused by the researchers' failure to understand ''A dream of Red Mansions'' or their different understandings of the text.Therefore, it's apparent that annotating ''A Dream of Red Mansions'' is a foundation work for its further study. Besides, though today's readers and audience are crazy about the book, I'm afraid that not many of them get to know it thoroughly.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 11:14, 13 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
这是因为，《红楼梦》不是普通的白话小说，不是简单地为读者讲故事，不是为读者提供茶馀饭后的谈资，更不是为了赚稿费餬口（那时根本不存在稿费制度）。它不仅是一部反映封建社会的“百科全书”，而且作者还对人类共同关心的一些问题，如人生的目的、人性的善恶、爱情的真谛、宗教的精义等进行了探索。作品涉及的内容几乎无所不包，从至高无上的皇帝，到“芥豆之微”的细民，从国家的政治、军事、经济到百姓的日常生活，举凡天文、地理、动物、植物、建筑、服饰、医卜星相、琴棋书画等等，无不尽收笔底。&lt;br /&gt;
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This is because ''A Dream of Red Mansions'' is not an ordinary vernacular novel. It is not simply a story for readers to read, not a topic for after-dinner conversation, or a way to earn a living (there was no contribution fee system at that time). It is not only an &amp;quot;encyclopedia&amp;quot; reflecting the feudal society, but also explores some common issues of human concern, such as the purpose of life, the good and evil of human nature, the true meaning of love, the essence of religion and so on. The works cover almost everything, from the supreme emperor to the ordinary people, from national politics, military affairs, economy to the daily life of the people, including astronomy, geography, animals, plants, architecture, clothing, medicine, astrology and practise divination, poetry and painting and so on, they're all in the book.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:47, 6 November 2021 (UTC)&lt;br /&gt;
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It is because ''Dream of the Red Chamber'' is neither an ordinary novel in vernacular Chinese, nor a simple narrative or gossip for readers. The author wrote it not for remuneration for the system of remuneration for writters did not exist at that time. It is not only an &amp;quot;encyclopedia&amp;quot; reflecting the feudal society, but also an exploration of some issues of common concern to mankind, such as the purpose of life, the good and evil of human nature, the true meaning of love, and the essence of religion. It covers almost everything, from the supreme emperor to the plebeian as tiny as reed, and from the politics, military and economy of the country to the daily life of the people. It includes astronomy, geography, animals, plants, architecture, costumes, medicine, astrology, zither, chess, calligraphy and painting, and so on. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:48, 10 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
作者还调动了自己的全部才能和知识，汲取了前人的成果，撰写并引用了大量诗、词、曲、赋、歌、诔、谜语、酒令等，作为描写人物、叙述故事、揭示主题的艺术手段，从而成为作品的重要组成部分。这其中蕴藏着许多成语、典故和各种知识，现在的一般读者是很难读懂的。此外，由于曹雪芹以其家事为《红楼梦》的蓝本，且暴露了不少家丑，如秦可卿的淫荡乱伦等，因而大量采用了《春秋》笔法，即作者所谓将“真事隐去”，以“假语村言”的曲折方式进行暗示或隐寓，致使《红楼梦》扑朔迷离，迷雾重重。&lt;br /&gt;
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The author also mobilized all his talents and knowledge and drew on the achievements of his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. This contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for Dream of the Red Chamber and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, adopted much of a writing style of ''Spring and Autumn Annals'', that is, the author's so-called &amp;quot;real things concealed&amp;quot;, in the twisted way of &amp;quot;false words and village gossips&amp;quot;, which has led to the ''Dream of the Red Chamber'' being puzzling and foggy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:28, 10 November 2021 (UTC)&lt;br /&gt;
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The author also mobilized all his talents and knowledge and took  results from his predecessors, writing and quoting a large number of poems, lyrics, songs, eulogies, riddles and wine wager as artistic methods to describe characters, narrate stories and reveal themes, thus becoming an important part of the work. The novel contains many idioms, allusions and various kinds of knowledge that are difficult for the average readers to comprehend nowadays. In addition, Cao Xueqin used his family affairs as the blueprint for ''A Dream in Red Mansions'' and exposed many family scandals, such as Frivolity Grain's lewdness and incest. Cao, thus, frequently adopted a writing style of ''Spring and Autumn Annals'', that is, the author's so-called &amp;quot;real things concealed&amp;quot;, using the twisted way of &amp;quot;false words and village gossips&amp;quot; to hint and make it metaphorical which has led to ''A Dream in Red Mansions'' being puzzling and foggy.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 08:35, 14 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
因此帮助广大读者读懂《红楼梦》，也是《红楼梦》研究者义不容辞的责任。而要使读者读懂《红楼梦》，只作简单的文字注释不解决问题，必须加以详细注释，将隐藏于《红楼梦》字里行间的寓意一一揭示出来，才能完全展示《红楼梦》的本来面貌。我从学生时代起就期待这种《红楼梦》的详注本出现，一直等了半个世纪，可惜望眼欲穿而不见踪影。&lt;br /&gt;
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Therefore, it is incumbent on researchers of ''A Dream in Red Mansions'' to help numerous readers understand the novel. For this, problem can’t be solved simply by text annotations. What should do is to add detailed explanatory notes to discover the meanings implied in characters, which can fully show the way the book originally is. I have expected the appearance of this version with detailed annotations since I was a student. I’ve waited for half a century, but it never comes out.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:46, 12 November 2021 (UTC)&lt;br /&gt;
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Therefore, it is our researchers' duty to heip numerous readers understand A Dream in Red Mansions. To do that, simple text annotations are not enough. And detailed explanatory notes are needed to discover its implied meanings, which can fully show its characteristics. Waiting for half century, I have expected the apppearance of this version with detailed annotations since I was a student.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 01:49, 15 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
很显然，“红学家”的队伍虽然不断壮大，看来他们对这种注释工作似乎不屑一顾。于是我这个“红学”的门外汉便斗胆一试，结果试出了这个《红楼梦》校注本。我这是“人弃我取”，希望不至于冒犯任何人。&lt;br /&gt;
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Obviously, the amount of redologists who are sepcalists in A Dream of Red Mansion was increasing. They seemed to pay no attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing the things others gave up, which would not offend anyone.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:52, 7 November 2021 (UTC)&lt;br /&gt;
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Obviously, the amount of redologists sepcalizing in A Dream of Red Mansion was increasing. They seemed to pay little attention to annotate that book, but I, as a layman, took a chance and tried to make the annotation of A Dream of Red Mansion. I thought it was an attitude of doing things others gave up, which I hope would not offend anyone.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:20, 7 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
如果能成为“引玉”之“砖”，即使要做“众矢之的”，招来“万箭攒射”，我也决不后悔，因为这也算是我对《红楼梦》读者的小小奉献了。下面仅就与校注工作有关的几个具体问题略作说明。&lt;br /&gt;
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一、作者问题&lt;br /&gt;
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If I can serve as a modest spur to induce someone to come forward with his valuable contributions, I will never regret even if I could be the target of public criticism. It is because that the annotation work  is also my dedication to the readers of A Dream of Red Mansions. And I will explain a little about the specific questions in proofreading below. 1. The Question of Author--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:40, 7 November 2021 (UTC)&lt;br /&gt;
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If I can become a &amp;quot;brick&amp;quot; for &amp;quot;inviting jade&amp;quot;, even if I want to be &amp;quot;a target of all targets&amp;quot; and attract &amp;quot;a thousand arrows&amp;quot;, I will never regret it, because this is also a small dedication to the readers of &amp;quot;A Dream of Red Mansions&amp;quot;. The following is only a brief description of a few specific issues related to the proofreading work.&lt;br /&gt;
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
中国文学史中有两个突出现象：一是在封建时代得意并著名的文人不写小说；二是小说作品多不署名或只署化名。这完全是由封建统治者造成的。封建统治者的文学观是纯粹的政治功利主义，即所谓“文以载道”。&lt;br /&gt;
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There are two outstanding phenomena in the history of Chinese literature: one is that famous and proud literati in the feudal era do not write novels; the other is that many novels do not sign or only sign pseudonyms. This is entirely caused by the feudal ruler. The feudal ruler’s literary view is pure political utilitarianism, that is, the so-called &amp;quot;writing is used to carry Tao&amp;quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)&lt;br /&gt;
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There are two prominent phenomena in the history of Chinese Literature: first, the proud and famous literati in the feudal era did not write novels; Second, most novels are not signed or only signed by pseudonyms. This was entirely caused by the feudal rulers. The literary view of feudal rulers was pure political utilitarianism, that is, the so-called &amp;quot;literature carries Tao&amp;quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
他们认为小说不仅不能“载道”，而且往往“诲淫诲盗”，对封建统治构成威胁。因此不仅将小说排斥在正统文学之外，甚至常常以“禁毁”的方式加以扫荡。在文网森严及小说地位低贱的环境下，多数文人自然不敢或不屑从事小说的创作；而那些痴迷小说的作者也就不敢或不愿在小说作品上亮出自己的真名实姓。They faithfully believe that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &amp;quot;prohibition and destruction&amp;quot;. In the social background of highly strict policy of Literary Network and low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to show their real names in their novels.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:46, 10 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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They believed that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, which poses a threat to feudal rule.Therefore, novels are not only excluded from orthodox literature, but also often cleaned up in the way of &amp;quot;prohibition and destruction&amp;quot;. In the social background of highly strict policy of Literary Network and of low status of novels, most scholars naturally dare not or disdain to engage in novel creation; Those who are obsessed with novels are afraid or unwilling to sign their real names in their novels.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:18, 11 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
因此研究中国古代小说多了一项工作，即不得不对小说作者加以考证。《红楼梦》也不例外，它的作者连化名都未署一个。“红学家”们为了考证它的作者，不知耗费了多少精力和时间，然而由于史料不足，至今仍然众说纷纭,难以形成共识。&lt;br /&gt;
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Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception. Its author does not even have a pseudonym. In order to do textual research on its author, the &amp;quot;redologists&amp;quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 01:57, 6 November 2021 (UTC)&lt;br /&gt;
Therefore, there is one more task to study ancient Chinese novels, that is, we have to do textual research on the authors of the novels. ''A Dream of Red Mansions'' is no exception, whose author does not even have a pseudonym. In order to do textual research on its author, the &amp;quot;redologists&amp;quot; spent a lot of energy and time. However, due to the lack of historical data, opinions are still varied and it is difficult to reach a consensus.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:39, 15 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
据我个人所知，至少就有七种说法：其一为“曹作高续”说。即认为曹雪芹写到八十回而去世，并可能留下了后四十回的某些提纲以及部分书稿；高鹗根据曹雪芹的这些提纲、书稿以及前八十回中的许多暗示，还可能参考了其他人的续作，完成了后四十回的创作，并对前八十回加以修订，从而使《红楼梦》成为完璧。&lt;br /&gt;
As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao passed away and left some outline and manuscripts of the latter fourth chapters when the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished. --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 06:27, 15 November 2021 (UTC)&lt;br /&gt;
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As far as I am concerned, there are at least seven sayings: one of which is that ''Dream of Red Mansions'' was written by Cao Xueqin and then finished by Gao. The saying means that Cao had passed away and left some outline and manuscripts of the latter fourth chapters while the former eighty chapters was finished. Then, Gao finished the latter forty chapters and reviewed the former eighty chapters, according to some outlines, manuscripts and clues made by Cao, referring to other sequels. Finally, ''Dream of Red Mansion'' was finished.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:04, 15 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
其二为“曹作程续高订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是程伟元，高鹗只是参加了全书的修订工作。其三为“曹作高续程订”说。即认为前八十回的作者是曹雪芹，后四十回的作者是高鹗，程伟元则对曹雪芹的前八十回加以修订。&lt;br /&gt;
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The second is the theory of &amp;quot;Cao came to write, Cheng continued to write, Gao to revise&amp;quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Cheng Weiyuan, and Gao E only participated in the revision of the whole book. The third is the theory of &amp;quot;Cao came to write, Gao continued to write, Cheng to revise&amp;quot;. That is, the author of the first 80 chapters is Cao Xueqin, the author of the last 40 chapters is Gao E, and Cheng Weiyuan revised Cao Xueqin's first 80 chapters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:47, 6 November 2021 (UTC)&lt;br /&gt;
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The second statement said that &amp;quot;Started by Cao, completed by Chen, and revised by Gao&amp;quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Cheng Weiyuan, and Gao E only revised the whole book. The third statement said that &amp;quot;Started by Cao, completed by Gao, and revised by Chen&amp;quot;. That’s to say, the first 80 chapters were written by Cao Xueqin, the last 40 chapters were written by Gao E, and Cheng Weiyaun made revisions to the first 80 chapters of Cao Xueqin.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:56, 10 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
其四为“曹作某续高订”说。即认为在程伟元和高鹗之前，已有人为曹雪芹的未完稿续写完全，程伟元将搜集到的抄本交由高鹗修订，然后刊行。其五为“曹作程高修订”说。&lt;br /&gt;
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The fourth statement said that “Started by Cao, completed by someone, and revised by Gao”. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished writing. Then, Cheng Weiyuan collected this hand-copied version and provided it for Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published . The fifth statement said that “Started by Cao, and revised by both Cheng and Gao ”.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 08:08, 10 November 2021 (UTC)&lt;br /&gt;
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The fourth statement said that &amp;quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&amp;quot;. That's to say, before Cheng Weiyuan and Gao E, there was someone who completed Cao Xueqin's unfinished work. Then, Cheng Weiyuan collected these hand-copied drafts and offered them to Gao E to revise, and afterwards ''Dream of the Red Chamber'' was published. The fifth statement noted that &amp;quot;It was started by Cao, and revised by both Cheng and Gao&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
即认为曹雪芹已经完成了《红楼梦》全书，只是未遑修饰而去世，后由程伟元和高鹗共同修订并刊行。其六为“叔作侄订”说。即认为《红楼梦》的原作者是曹雪芹的叔父曹頫，也就是给《红楼梦》加批的“脂砚斋”；曹雪芹只是对它“披阅十载，增删五次”。&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', while as a result of his death it was not polished by himself, but co-revised and published by Cheng Weiyuan an Gao 'E later on. Sixly, rumar had it that this classic was the common product of the uncle and the nephew. That was to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:55, 14 November 2021 (UTC)&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions''. As a result of his death it was not published by himself. However, co-revised and published by Cheng Weiyuan an Gao 'E later on. Rumar had it that this classic was the common product of the uncle and the nephew. Which shows, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the only one who added notes in that masterpiece, and Cao Xueqin just repeatedly revised it.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:35, 6 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)&lt;br /&gt;
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It was commonly believed that Cao Xueqin had finished the draft of ''A Dream in Red Mansions'', but died before he could polish it. As a result, the draft was co-revised and published by Cheng Weiyuan an Gao 'E later on. The sixth opinion is that this classic is the common product of the uncle and the nephew. That's to say, the original author of that masterpiece was Cao Fu, Cao Xueqin's uncle, who was at the same time the very one that added notes in that masterpiece, and Cao Xueqin just played the role of repeatedly revising it.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:35, 14 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
其七为“某作曹订”说。即认为《红楼梦》的原作者是个与曹家毫不相干的无名氏，曹雪芹只是个修订者。“红学家”对《红楼梦》作者的意见分歧，使出版者无所适从，因而造成了新版《红楼梦》署名的混乱：或只署曹雪芹，或并署曹雪芹、高鹗，或干脆不署名。&lt;br /&gt;
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The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''A Dream in Red Mansions'' is an anonymous person who has no relation with Cao’s family, and Cao Xueqin is only the reviser. The different opinions among the “redologists” about the author of ''A Dream of Red Mansions'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:40, 10 November 2021 (UTC)&lt;br /&gt;
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The seventh opinion is that “a certain author, Cao revised”. That is to say, the original author of ''The Dream of the Red Chamber'' was an anonymous person who had no relation with the Cao’s, and Cao Xueqin was only a reviser. The different opinions among the “redologists” about the author of ''The Dream of the Red Chamber'' caused the publishers not to know what to do. The new versions are therefore in confusion: some signed Cao Xueqin alone, some signed Cao Xueqin and Gao E together, and some signed nothing at all. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:33, 10 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
由于我对这个问题缺乏专门研究，只能在以上七种说法中加以选择。我认为这七种说法都有一定的根据，均非空穴来风。但相比之下，第一种说法的证据更为充分，也得到了学界的普遍认可，因此仍将曹雪芹和高鹗作为《红楼梦》的共同作者。&lt;br /&gt;
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Because of a lack of specialized research to this question, I had to select from the seven statements above. I thought that the seven statements were of certain basis. However, with comparison, the evidence of first statement was more sufficient, and was largely approved by the academic circles. So,  Cao Xueqin Autor and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:47, 6 November 2021 (UTC)&lt;br /&gt;
Being lacking in specialized research to this question, I had to select from the above seven versions . I thought that they were of certain basis. However, with comparison, the first statement was more credible, and was largely approved by the academic circles. So, Cao Xueqin and Gao E were still regarded as the co-author of ''the Dream of the Red Chamber''.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:57, 10 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
至于这种说法的具体根据，以及两作者的生平，已见于不少专文，这里不再赘述。&lt;br /&gt;
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二、版本问题&lt;br /&gt;
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由于《红楼梦》创作过程和流传过程的特殊性，造成了《红楼梦》版本的复杂性。&lt;br /&gt;
We will not describe more about the specific reason of this opinion and lives of the two authors because a lot of scholars have discussed it.&lt;br /&gt;
二、Version problem&lt;br /&gt;
The unique process of creating and circulating A Dream in Red Mansions leads to such complicated versions of it.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:52, 10 November 2021 (UTC)&lt;br /&gt;
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As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.&lt;br /&gt;
 Second, the version of the problem because of the &amp;quot;Dream of Red Mansions&amp;quot; creative process and the special nature of the process of circulation, resulting in the &amp;quot;Dream of Red Mansions&amp;quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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而《红楼梦》版本的复杂性，又迫使我们不得不有所选择。《红楼梦》的创作和流传过程可以分为四个阶段：其一是曹雪芹的创作阶段。虽然曹雪芹自称“披阅十载，增删五次”，其实由于他溘然而逝，只留下了一部《红楼梦》的未完稿和未定稿。&lt;br /&gt;
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The complexity of the version of a Dream of Red Mansions forces us to make choices. The creation and spread of a Dream of Red Mansions can be divided into four stages: one is  Cao Xueqin Autor's creation stage. Although  Cao Xueqin Autor, claimed that &amp;quot;reading for ten years, adding and deleting five times&amp;quot;, in fact, because of his death, leaving only a dream of red Mansions unfinished and unfinished.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 08:59, 9 November 2021 (UTC)&lt;br /&gt;
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The complexity of the version of a ''dream of Red Mansions'' forces us to choose. The creation and spread of the ''dream of Red Mansions'' can be divided into four stages: one is the creation stage of  Cao Xueqin Autor. Although  Cao Xueqin Autor claimed to &amp;quot;read for ten years, add and delete five times&amp;quot;, in fact, due to his death, only one unfinished and undecided version of a dream of Red Mansions was left.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:16, 9 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
他只完成了八十回，约相当于全书的三分之二。他不仅未对这八十回的书稿进行修订润色，而且还有不少待补的缺文。以“红学家”认为最好的版本“庚辰本”为例：第十七、十八两回合用一套回目，第十九回没有回目；第二十二回写荣国府作灯谜游戏，“此回未成而芹逝矣”(脂砚斋批语)，以至不仅缺了主要人物贾宝玉、林黛玉和史湘云的灯谜，而且本回还有不少其他缺文；如此等等。&lt;br /&gt;
He completed only eighty times, about two-thirds of the book. Not only did he leave the eighty drafts unrevised, but there was still much to be done. To the researcher of a dream of Red Mansions that the best version of the &amp;quot;gengchen Ben&amp;quot; as an example: the 17th, 18th round with a set of return, the 19th back no return; The twenty-second time to write rongguo Mansion for lantern riddle game, the chapter is unfinished but Cao Xueqin is dead (the ink stone lent comments), so that not only the lack of lantern riddles of the main characters Precious Jade Merchant , Mascara Jade Forest and Fragrant-cloud History, and this time there are many other lack of text; And so on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:26, 7 November 2021 (UTC)&lt;br /&gt;
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He completed only eighty chapters, about two-thirds of the whole book. Not only did he leave the eighty drafts unrevised and unpolished, but there was still much missing pages to be filled. Take the “Gengchen Version” as an example, which was considered the best version by Redology scholars, the 17th, 18th chapters kept the same content and the 19th had no content; The chapter 22, which was about Rongguo Mansion' lantern riddle game, was unfinished before Cao Xueqin passed away. (comments from the Ink Stone Lent), so that there was not only a lack of lantern riddles of the main characters Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History, but also many other contents, and so on.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:53, 7 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
其二是曹雪芹《红楼梦》八十回本的传抄阶段，其间大约近三十年。由于抄书速度很慢，《红楼梦》的篇幅又很长，要想在短时间内抄完一部，需集多人之手。故多为达官显宦之家雇佣抄手，集体完成。&lt;br /&gt;
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The second lay in the transmission and copying stage of 80 chapters of Cao Xueqin's ''A Dream of Red Mansions'', which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to scribe it done in a short time. Therefore it was the noble officials anddignitaries who often hired scribes to do the task together.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:39, 7 November 2021 (UTC)&lt;br /&gt;
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The second stage is the transmission and copying of 80 chapters of ''A Dream of Red Mansions'' written by Cao Xueqin, which lasted about 30 years. Due to the slow speed of copying and the long length of the novel, it required cooperation in order to finish it  in a short time. Therefore it was the noble officials and dignitaries who often hired scribes to do the task together.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 05:33, 10 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
又因它是一部未完稿和未定稿，抄手便自觉或不自觉地加以增删修改；而抄手大多水平不高，且良莠不齐，鲁鱼亥豕，在所难免。从而导致大量异文乃至讹误的产生。其三是高鹗和程伟元续写后四十回并对全书进行修订和刊行的阶段。&lt;br /&gt;
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And because it was an unfinished and undecided manuscript, the scribes  consciously or unconsciously added, deleted  and modified it. Most scribes  lacked skills and the level of copying varied in quality. Accordingly, it was inevitable that clerical errors occurred, which led to a large number of variant versions of the book and even misinterpretations in the text. The third was the stage when Gao E and Cheng Weiyuan wrote a continuation of 40 chapters for ''A Dream in Red Mansions'', revised and published the whole book.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:29, 6 November 2021 (UTC)&lt;br /&gt;
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And because it was an unfinished and undecided manuscript, the copywriters consciously or unconsciously added, deleted or modified it; Because most copywriters lacked skills and their level of copying varied in quality.so it was inevitable that led to a large number of different texts and even errors in the text. The third was the stage when E Gao and Weiyuan Cheng continued to write the last 40 chapters of ''A Dream in Red Mansions'',revised and published the whole book.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:47, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
其间又可分为四段：首先由程伟元对各种《红楼梦》抄本加以搜集(其中可能包括无名氏续写的书稿)；其次由高鹗续写后四十回，并对前八十回进行大量修订(程伟元也可能参与了修订工作)；又次由程伟元于乾隆五十六年（公元1791年）用活字排印出版一百二十回本，后来被胡适先生命名为“程甲本”；次年由高鹗和程伟元对“程甲本”加以修订再版，后来又被胡适先生命名为“程乙本”。据说还有“程丙本”，如今已经不知下落，据个别看过的人说，较之“程乙本”改动甚少，因而可以置之不论。&lt;br /&gt;
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It can be divided into four periods: firstly,Weiyuan Cheng collected various transcripts of ''A Dream of Red Mansions ''(including the manuscripts of a sequel written by anonymous authors); Secondly,E Gao continued to write the last 40 chapters and made a lot of revisions to the first 80 chapters (Weiyuan Cheng may also had participated in the revision work); thirdly, another 120 copies were printed and published by Weiyuan Cheng in movable type in the 56th year of the Emperor of Qianlong (AD 1791), which was later named &amp;quot;Cheng Jia Edition&amp;quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi Ben&amp;quot; by  Mr.Shi Hu. It is said that there is also &amp;quot;Cheng bing Edition&amp;quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &amp;quot;Cheng Yi Edition&amp;quot;, so it can be set aside.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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It can be divided into four stages: in the first stage, Cheng Weiyuan collected all kinds of  transcripts of ''A Dream of Red Mansions'' (including the manuscripts of a sequel written by unknown authors); Secondly, Gao E continued the last 40 chapters and made a lot of revisions to the first 80 ones (Cheng Weiyuan may also had participated in the revision work); thirdly, another 120 copies were printed and published by Cheng Weiyuan in movable type in the 56th year under the reign of the  emperor Qianlong (AD 1791), which were later named &amp;quot;Cheng Jia (the first) Editions&amp;quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi (the second) Edition&amp;quot; by Hu Shi. It is said that there was also &amp;quot;Cheng Bing (the third) Edition&amp;quot;, which now has no whereabouts. According to someone who had once read it, compared with &amp;quot;Cheng Yi Edition&amp;quot;, there were so few changes that it could be set aside.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:11, 8 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
其四是《红楼梦》刊本的流传阶段。此段从程伟元的活字本问世开始，直到现在。在刊本出现后，虽然由于某些人的爱好或习惯，仍有抄本流传，但已是强弩之末，不成气候，而刊本的流传却如燎原之势，席卷全国。&lt;br /&gt;
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The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage has been going on since Cheng Weiyuan's movable printed editions were published. After these versions appeared, though transcripts were still spreading due to some people's hobbies or habits, it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 14:22, 6 November 2021 (UTC)&lt;br /&gt;
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The fourth period is the circulation of the printed versions of ''a Dream of Red Mansions''. This stage start from cheng Weiyuan's movable type book came out and until now. After the publication appeared, although due to some people's hobbies or habits,  it was like a spent arrow and no longer had great influence, while the printed versions spread and swept like fire through the country.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:00, 8 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
《红楼梦》如此特殊的创作和流传过程，导致了《红楼梦》的“三多”现象：版本多，异文多，讹误多。幸运的是，近几十年来，这些版本不仅不断被发现，而且陆续被影印出版，从而使我们得以大饱眼福。仅就我个人视野所及，即有十二种版本，而且五花八门：或名《石头记》(5种)，或名《红楼梦》(7种)；或为抄本(10种)，或为刊本(2种)；或为八十回系统(8种，其中6种为残本)，或为一百二十回系统(4种)。&lt;br /&gt;
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The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &amp;quot;three many&amp;quot; : many versions, many different texts and many errors. Fortunately, in recent decades, these editions have not only been discovered, but photocopied and published, so that we can feast our eyes on them. As far as I can see, there are twelve versions, and they are diverse，named as &amp;quot;The Story of the Stone&amp;quot; (five versions) or &amp;quot;A Dream of Red Mansions&amp;quot; (seven versions). Some are codex (10 kinds) and some are  periodical (2 kinds); Some are 80 chapter system (8 types, 6 of which are incomplete) and some are 120 chapter system (4 types).--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:53, 8 November 2021 (UTC)&lt;br /&gt;
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The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &amp;quot;three many&amp;quot;: many editions, many variants and many errors. Fortunately, in recent decades, these editions have not only been discovered, but successively photocopied and published, which greatly regale us. As far as I know, there are twelve editions in great diversity. Some are titled ''The Story of the Stone'' (five editions), or ''A Dream of Red Mansions'' (seven editions); some are hand-copied (10 editions), while some printed (8 including 6 incomplete editions); some are composed of 80 chapters, while some others 120 chapters.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:17, 13 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
《红楼梦》的众多版本，对于研究者是极有价值的，它们可以帮助研究者分析《红楼梦》的创作过程和流传过程，并进行比较研究。但对于普通读者来说，如此眼花缭乱的版本，犹如坠入五里雾中，使他们无从选择。因此《红楼梦》的研究者有义务为他们提供一个最好的版本。&lt;br /&gt;
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The various versions of ''Dream of the Red Chamber'' have enormous value to researchers. They can be helpful to researchers in analyzing the processes of creation and dissemination, and facilitating comparative studies. However, for common readers, such a dazzling array of versions might leave them with a foggy head and unable to decide. Therefore, researchers are obliged to offer the best version. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 06:09, 10 November 2021 (UTC)&lt;br /&gt;
The various versions of ''Dream of the Red Chamber'' are valuable to researchers, which can helpful to them in analyzing the processes of creation and dissemination of the book,  as well as working on comparative studies. However, it would be confusing and indeterminable for the general readers when facing with such a dazzling array of versions. It’ s therefore incumbent upon researchers to offer the best version.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
况且为了很好地保存这笔珍贵的文化遗产，也必须确立一种《红楼梦》的最好版本。那么哪一种版本是《红楼梦》的最好版本呢？答案就是“程乙本”。鉴于至今仍有“红学家”对高鹗续写的《红楼梦》后四十回既持否定态度，又在出版《红楼梦》时不得不用它与曹雪芹的前八十回相配为完整的一百二十回本，我在这里必须首先对高续后四十回的价值略作说明。&lt;br /&gt;
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Moreover, in order to preserve this precious cultural heritage, it is also necessary to establish the best version of ''Dream of the Red Chamber''. So which is the best version? The answer is &amp;quot;Cheng Yi Ben&amp;quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &amp;quot;Redologists&amp;quot; who have a negative attitude towards Gao E 's subsequent writing of the later forty chapters of ''Dream of the Red Chamber'', and who had to use Gao‘ s creation in conjunction with Cao Xueqin's first eighty chapters as the complete one—hundred and twenty chapters, I must first give a brief explanation of the value of Gao's continuation of the later forty chapters.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:18, 8 November 2021 (UTC)&lt;br /&gt;
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Moreover，it is also necessary to establish the best version of ''Dream of the Red Chamber'' to preserve this precious cultural heritage.So which one is the best version of it？The answer is &amp;quot;Cheng Yi Ben&amp;quot;.Since there is still opposition against the forty chapters wrote by Gao E，the “master of the Dream of the Red Chamber，while it is a must to combine them and the eighty chapters wrote by Cao Xueqin to form an integral book which has one hundred and twenty chapters，I must briefly introduce the value of the forty chapters wrote by Gao E--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 08:46, 10 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
率先冲破评点派和索隐派而从中国小说发展史的角度客观评价高鹗续书的是胡适先生。他在1921年11月12日定稿的《〈红楼梦〉考证》（见1923年亚东图书馆版《胡适文存》）中说：我们平心而论，高鹗补的四十回，虽然比不上前八十回，也确然有不可埋没的好处。他写司棋之死，写鸳鸯之死，写妙玉的遭遇，写凤姐的死，写袭人的嫁，都是很有精采的小品文字。&lt;br /&gt;
The man who first transcend the groups of criticizing and objectively comment the continuation of Gao E from the perspective of the history of the development of Chinese novels is Hu Shi.He said in his 《Test of the Dream of the red mansions》finalised in 1921，12th November that：“To be honest，Gao E’s supplementary forty chapters，though not comparable to the original eighty chapters，still boast their own outstanding merits.For instance，he wrote the death of Si Qi，of Yuan Yang，of Feng Jie，the encounter of Miao Yu and the marriage of Xi Ren，are all excellent facetious words.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:08, 9 November 2021 (UTC)&lt;br /&gt;
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It was Mr. Hu Shi who firstly made a breakthrough between “Pingdian Group” and “Suoying Group” and objectively evaluated Gao E’s continuation from the perspective of Chinese novel’s history. In ''A Textual Research on A Dream of Red Mansions'' finalized on November 12, 1921 (''Hu Shi’s Article Archive'', Yadong Library Edition, 1923), he said, “To be fair, the following forty episodes written by Gao E certainly have undeniable charm although not as good as the previous eighty. He ended Siqi’s life with death, wrote about the death of Yuanyang, the suffering of Miaoyu, Sister Feng’s demise and the marriage of Xiren, all of which are really brilliant sketches. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:31, 12 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
最可注意的是这些人都写作悲剧的下场。还有那最重要的“木石前盟”一件公案，高鹗居然忍心害理的教黛玉病死，教宝玉出家，作一个大悲剧的结束，打破了中国小说的团圆迷信。这一点悲剧的眼光，不能不令人佩服。&lt;br /&gt;
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It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &amp;quot; Wood and Stone's Previous Oath&amp;quot;. In the novel, Gao E auturally had the heart to leave Daiyu to die of illness and Baoyu to become a monk. He made it ended up as a great tragedy and broke the routine of &amp;quot;reunion superstition&amp;quot; in traditional Chinese novels, which could not be more admirable from the tragic perspective.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:00, 7 November 2021 (UTC)&lt;br /&gt;
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It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &amp;quot;The Pledge in front of Wood and Stone&amp;quot;, in the novel, the author Gao E actually ended Mascara Jade Forest's (Lin Daiyu's) life with death resulting from illness and left Precious Jade Merchant (Jia Baoyu) to become a monk. Gao E finished ''A Dream of Red Mansions'' with a tragical epilogue so as to break the superstition that Chinese novels routinely end in happy reunion. In this sense, Gao E's tragic perspective deserves admiration and praise.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:09, 7 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
我们试看高鹗以后，那许多续《红楼梦》和补《红楼梦》的人，那一个不是想把黛玉、晴雯都从棺材里扶出来，重新配给宝玉？那一个不是想做一部“团圆”的《红楼梦》的？我们这里退一步想，就不能不佩服高鹗的补本了。我们不但佩服，还应该感谢他，因为他这部悲剧的补本……居然打倒了后来无数的团圆《红楼梦》，居然替中国保存了一部有悲剧下场的小说！&lt;br /&gt;
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As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Mascars Jade Forest (Lin Daiyu) and Sunny Cloud Formation (Qing Wen), who died and lay in coffin, and then to betroth them to Precious Jade Merchant (Jia Baoyu). And these writers all had the desire to end the story in a warm reunion. On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:35, 7 November 2021 (UTC)&lt;br /&gt;
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As we can see, after Gao E finished ''A Dream of Red Mansions'' (which was left unfinished by the previous author Cao Xueqin), many of those who wrote this work continually or supplementarily were all eager to save Lin Daiyu and Qing Wen (or Sunny Cloud Formation), who died and lay in coffin, and then to betroth them to Jia Baoyu (or Precious Jade Merchant). Which writer did not want to create &amp;quot;A Dream of the Red mansion&amp;quot; with a reunion ending? On second thought, we cannot but have a high opinion of Gao E's supplementary version ''A Dream of Red Mansions''. Arguably, not only should we admire but show gratitude for him, on the grounds that, his edition packed with tragic color is unexpectedly more laudatory than those with happy endings, actually preserving a novel with the tragical epilogue in China.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:33, 7 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
几乎与胡适同时，俞平伯先生也对高鹗的续书予以专章论述。他在1923年亚东图书馆出版的《红楼梦辨·论续书底不可能》中说：从高鹗以下，百馀年来，续《红楼梦》的人如此之多，但都是失败的……我以为凡书都不能续，不但《红楼梦》不能续；凡续书的人都失败，不但高鹗诸人失败而已。&lt;br /&gt;
Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a chapter to the continuation of Gao E's book. He said in the &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ...... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; can not be renewed; all the people who renewed the book failed, not only Gao E and others failed.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 12:27, 7 November 2021 (UTC)&lt;br /&gt;
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Almost at the same time as Hu Shi, Mr. Yu Pingbo also devoted a comment chapter to the continuation of Gao E. He said in the &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; is in the case; all the people who renewed books failed, not only Gao E and others did.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:43, 8 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
因此他的结论是：高鹗诸人续写的《红楼梦》都是“狗尾续貂”。俞先生“凡书都不能续”、“凡续书的人都失败”的说法未免武断，至少措辞不够严谨。事实上，成功的续书并非没有，只是不多。&lt;br /&gt;
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Therefore, his conclusion is: The continuations of &amp;quot;The Dream of Red Mansions&amp;quot; written by the Gao E and others are all &amp;quot;wretched sequels to a masterpiece.&amp;quot; Mr. Yu’s statement that “every book cannot be continued” and “everyone who renews a book fails” is a bit too arbitrary, at least the wording is not rigorous enough. In fact, successful continuations do exist, but are not substantial.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:29, 8 November 2021 (UTC)&lt;br /&gt;
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He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &amp;quot;dog tails on a marten&amp;quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &amp;quot;all books cannot be renewed&amp;quot; and &amp;quot;all those who renew books will fail&amp;quot; is arbitrary, or at least not carefully worded. In fact, successful continuations do exist, but are not substantial.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:35, 9 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
且不说成功的学术著作不乏范例，就是小说作品的续书也有成功的。譬如清代陈忱的《水浒后传》、近代吴趼人的《新石头记》，就都是别开生面之作。不过俞先生毕竟是严肃的学者，尽管他对高鹗的续书很不满意，却对高鹗的功绩予以肯定。&lt;br /&gt;
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Not to mention that there is no shortage of examples of successful scholarly works, there are also successful sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 23:25, 9 November 2021 (UTC)&lt;br /&gt;
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Not to mention that there is no shortage of successful examples of scholarly works, there are also successes in sequels to works of fiction. For example, Chen Chen's ''The Afterlife of Water Margin'' in the Qing dynasty and Wu Jianren's ''The New Story of the Stone'' in the modern era are both original works in new forms. But Mr. Yu, after all, was a serious scholar, and although he was dissatisfied with Gao E's sequel, he acknowledged Gao's merits.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:06, 7 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
他在《红楼梦辨·后四十回底批评》中说：高鹗以审慎的心思，正当的态度来续《红楼梦》；他宁可失之于拘泥，不敢失之于杜撰。其所以失败：一则因《红楼梦》本非可以续补的书，二则因高鹗与曹雪芹个性相差太远，便不自觉地相违远了。处处去追寻作者，而始终赶他不上，以致迷途；这是他失败时底光景。&lt;br /&gt;
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He said in the ''Defense of The Dream of Red Mansion: the criticism of the last forty chapters'': “GaoE continued writing The Dream of Red Mansion with his prudent intention and serious attitude; He would rather make it up than adhere to it. There are two reasons for the failure of his version. The first is that the book itself is not a book that can be continued writing. The other is GaoE’ s character is different far from Cao Xueqin’sw which naturally lead to his misconception about this book. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is his background of failure.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:11, 7 November 2021 (UTC)&lt;br /&gt;
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He said in the '' Defense of A Dream of Red Mansions: the criticism of the last forty chapters '': “Gao E continued writing '' A Dream of Red Mansions '' with his prudent intention and serious attitude; He would rather rigidly adhere to the content than fabricate some details. There are two reasons for the failure of his version. The first is that this novel itself is not the one that can be continued writing. The other is that Gao E’ s character is different far from Cao Xueqin’s which naturally lead to very distinct characteristics in this novel. He tried his best to catch the main points of Cao Xueqin whereas he even couldn’t see the back of Cao Xueqin resulting in the wrong path. This is the reason of his failure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:28, 8 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
至于混四十回于八十回中，就事论事，是一种过失；就效用影响而论，是一种功德；混合而论是功多罪少。“失败了，光荣地失败了！”是我对于高鹗底赞扬和指斥。俞先生在晚年对高鹗的续书给予更多的肯定，认为高鹗的续书使残缺的《红楼梦》成为完璧，是一大功劳。  &lt;br /&gt;
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As for adding forty chapters to the original eighty chapters, sticking to the facts, it is actually a demerit. However, it can be a kind of merits and virtues in terms of utility effect. With regarding to several aspects, and his merits can more than wipe out his faults. “Failed, gloriously failed!”It's my praise and rebuke to Gao E. In the later years of Mr. Yu, he gave more recognition to Gao E’sequel, believing that Gao E’ sequel made the fragmentary ''A Dream of Red Mansions'' a complete story which was a great credit.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 13:25, 8 November 2021 (UTC)&lt;br /&gt;
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As for mixing the forty chapters to the original eighty chapters, actually it is a kind of negligence in terms of facts; in terms of effectiveness and influence, it is a kind of merit; in terms of mixing, it is more meritorious and less sinful. &amp;quot;Failed, failed gloriously!&amp;quot; I praised and reprimanded Gao E. In his later years, Mr. Yu gave more affirmation to Gao E’s sequel, and believed that Gao E’ s sequel made the incomplete ''Dream of Red Mansions'' a great achievement.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 05:16, 12 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
鲁迅先生也对高鹗的续书予以肯定，只是对书末贾府的“复振”表示遗憾。他在《中国小说史略》（1923、1924年由北京大学新潮社分上下册出版，1925年由北京北新书局合为一册出版）第二十四篇中说：后四十回虽数量止初本之半，而大故迭起，破败死亡相继，与所谓“食尽鸟飞独存白地”者颇符，惟结束又复振。&lt;br /&gt;
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Lu Xun also gave a approval to the sequel of the book by Gao E, but regretted the “revitalization” part of Merchant’s mansion at the end of the book. He claimed in Chapter 24 of ''Chinese Novel Outline History''(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the latter forty chapters is only half of the original version in quantity, there are great changes, ups and downs, and dilapidated deaths one after another, which is very consistent with the so-called “eating all birds and flying alone in the white land”, but it ends and vibrates again.&lt;br /&gt;
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)&lt;br /&gt;
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Lu Xun also affirmed Gao E’s sequel, and just expressed regret for the “revitalization” of Merchant Mansion at the end of the book. He claimed in chapter 24 of Chinese Novel Outline History(In 1923 and 1924, published in two volumes by the New Trend Union of Peking University, and in 1925, published in one volume by Beixin Publishing House in Beijing) that although the last forty chapters are only half of the original version in quantity, events occurred constantly and loss and death were in succession, which was quite consistent with the statement “birds ate and flew, then left the bleak place”. But it was a pity that the sequel ended in revitalization. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:58, 8 November 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
以上三位权威学者对高鹗续书的评价不尽相同，但有两点共识：高鹗的后四十回逊于曹雪芹的前八十回，但他完成了曹雪芹的未竟之业，使残缺的《红楼梦》成为完璧；尤其打破了中国传统小说的“团圆迷信”，使《红楼梦》成为中国小说史上首部悲剧小说，这在中国小说发展史上是一个伟大创举。我认为三位先生的这两点共识是客观公正的，是高见卓识。&lt;br /&gt;
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The above three authoritative scholars hold various comments on Gao E’s sequel, sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering A Dream in Red Mansions perfect. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes A Dream in Red Mansions the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:23, 6 November 2021 (UTC)&lt;br /&gt;
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The above three authoritative scholars hold various comments on Gao E’s sequel, but sharing two points of consensus. One the one hand, Gao E’s last forty chapters are inferior to Cao Xueqin’s first eighty counterparts, but he has completed Cao’s unfinished work, rendering the incomplete ''A Dream in Red Mansions'' complete. On the other hand, in particular, Gao E breaks the routine of “reunion superstition”in traditional Chinese novels and makes ''A Dream in Red Mansions'' become the first tragic writing in the past records of Chinese novels, which is a great pioneering work in the history of Chinese novel development. As far as I am concerned, these two points proposed by the three respected scholars are objective, fair and insightful.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 9 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
晚近的某些“新红学家”尽管对高鹗大加挞伐，却无法推翻三位先生的这两点共识；最多只能进一步证明高鹗的续书比不上曹雪芹的原作，而不能抹煞高鹗续书的这两大功绩。我们可以设想，如果没有高鹗的续书，只能有两种结果：一是我们只能看到一部残缺不全的《红楼梦》，犹如只能欣赏一只断尾巴的孔雀；二是我们只能看到《红楼复梦》、《红楼圆梦》之类下三流续作，使《红楼梦》跳不出“团圆”小说的窠臼。&lt;br /&gt;
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Although some recent &amp;quot;new Redologists&amp;quot; criticized Gao E drastically, they could not overturn the consensus of the three gentlemen; at most, they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than erase the two achievements of Gao E's renewal. We can imagine that if we have no Gao E's sequel, there can only be two results: one is that we can only see an incomplete ''A Dream of Red Mansions'', like only enjoying a peacock with a broken tail, the other is that we can only see ''A Dream of Red Mansions Again'', ''A Dream of Red Mansions Reunion'' and other renewals that are third-classs, which makes ''A Dream of Red Mansions'' cannot jump out of the mold of &amp;quot;reunion&amp;quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)&lt;br /&gt;
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Although some recent “new Redologists” criticized Gao E drastically, they could not overturn the two consensuses of the three gentlemen; they could only further prove that Gao E's sequel is not comparable to Cao Xueqin's original, rather than obliterate the two achievements of Gao E's continuation. We can imagine that, without Gao E's sequel, there would be only two results: one is that we could only see an incomplete ''A Dream of Red Mansions'', as if we could only appreciate a peacock with a broken tail, the other is that we can only see such third-rate sequels like ''A Dream of Red Mansions'' Again, ''A Dream of Red Mansions Reunion'', making ''A Dream of Red Mansions'' cannot jump out of the set pattern of &amp;quot;reunion&amp;quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
因此，不仅我们应该感谢高鹗，如果曹雪芹地下有知，也会视高鹗为知己。胡适等三位先生论证了高鹗的两大功绩，就等于完全肯定了完整的一百二十回的《红楼梦》。但完整的《红楼梦》有两种版本，即“程甲本”和“程乙本”，两者的出版时间仅隔一年左右。&lt;br /&gt;
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Therefore, not only should we be grateful to Gao E, if Cao Xueqin was alive and knew about it, he would also regard Gao E as a confidant. Hu Shi and other three gentlemen demonstrated Gao E’s three achievements, which was equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the “Cheng A edition” and “Cheng B edition”, whose publishing interval was only about one year. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:35, 6 November 2021 (UTC)&lt;br /&gt;
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Hu Shi and other three gentlemen demonstrated gao e's two great achievements, which is equivalent to confirming the complete 120 chapters of a Dream of Red Mansions. However, there are two versions of the complete work, namely the &amp;quot;Cheng Jiabo edition&amp;quot; and &amp;quot;Cheng Yibo edition&amp;quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
这两种版本究竟哪一种更好呢？当然是“程乙本”，因为它是高鹗对“程甲本”精心修订的定稿本。程伟元和高鹗在“程乙本”《〈红楼梦〉引言》中说：因急欲公诸同好，故初印时不及细校，间有纰缪。今复聚集各原本，详加校阅，改订无讹。&lt;br /&gt;
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Which of these two versions is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:12, 12 November 2021 (UTC)&lt;br /&gt;
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Which version is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; introduction: Due to the urgent desire for public relations, the initial printing was not corrected in detail, and there were mistakes. This complex gathered the original, detailed review, change without error.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:36, 22 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
惟阅者谅之。这就是说，高鹗续写后四十回并修订曹雪芹的前八十回时，“因急欲公诸同好”，未能像曹雪芹那样“批阅十载，增删五次”，而是匆促而成，在排印过程中又没有仔细校对，以致“纰缪”难免，因而立即加以修订再版，从而产生了“程乙本”。可见“程乙本”是对“程甲本”的“纰缪”加以修订的本子，自然胜于“程甲本”了。&lt;br /&gt;
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Only those who read it will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, &amp;quot;because he was anxious to be good to the public&amp;quot;, he failed to &amp;quot;review for ten years, add and delete five times&amp;quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &amp;quot;mistakes&amp;quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &amp;quot;the version of Cheng Yi&amp;quot;. It can be seen that &amp;quot;the version of Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;the version of Cheng Jia&amp;quot;, which is naturally better than &amp;quot;the version of Cheng Jia&amp;quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)&lt;br /&gt;
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Only readers will forgive it. That is to say, when Gao E continued to write the last 40 chapters and revised Cao Xueqin's first 80 chapters, he was anxious to share it with the public, so he failed to review for ten years, add and delete five times as Cao Xueqin did.He hurried to finish it, not proofreading carefully in the process of typesetting, so mistakes were inevitable. Therefore, \ he immediately revised and reprinted another verison, resulting in appearing &amp;quot;Cheng Yi (the second) Edition&amp;quot;. It can be seen that &amp;quot; Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;Cheng Jia (the first) Edition&amp;quot;, which is naturally better than &amp;quot;Cheng Jia&amp;quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
然而由于出版商不加细较，以为初刊本更为可靠，以致在相当一段时间内，翻印的“程甲本”曾大行其道。直到1927年，胡适先生因亚东图书馆老板汪元放先生点校并出版过“程甲本”，便将自己珍藏的“程乙本”推荐给汪先生。汪先生便将“程乙本”与“程甲本”加以仔细对勘，并加上新式标点，予以出版。&lt;br /&gt;
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However, the publisher did not go into details, and believed that the first edition was more reliable. So in a fairly long period, the translated and printed “Cheng Jia (the first) Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Cheng Yi (the second) Edition” to the owner of Yadong Library, Mr. Wang Yuanfang after he heard that Mr. Wang had punctuated, proofead and published“Cheng Jia (the first) Edition”. Then Mr. Wang checked against another between “Cheng Jia” and “Cheng Yi” , added the new punctuation and published it.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:17, 10 November 2021 (UTC) &lt;br /&gt;
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However, the publisher did not proofread carefully and believed that the first edition was more reliable. So in a fairly long period, the printed “Chengjia Edition” became popular. Until 1927, Mr. Hushi recommended his treasured collection of “Chengyi Edition” to Mr. Wang Yuanfang who was the owner of Yadong Library because Mr. Wang once proofread and published “Chengjia Edition”. Then Mr. Wang contrasted “Chengjia Edition” with “Chengyi Edition” in detail and decided to add the  new-style punctuations to the latter and publish it.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 12 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
胡适先生并为该书写了《重印乾隆壬子本〈红楼梦〉序》。他在《序》文中说：现在印出的程乙本，就是那“聚集各原本，详加校阅，改订无讹”的本子，可说是高鹗、程伟元合刻的定本。这个改本有许多改订修正之处，胜于程甲本。&lt;br /&gt;
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Mr.Hushi wrote &amp;quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions'' for this book. In the preface, he said that the newly-printed Chengyi edition which was revised carefully by referring to all kinds of original editions to make sure no incorrect information in it, was the final edition made by Gao E and Cheng Weiyuan. This edition had many corrections so it was better than the Chengjia edition. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:47, 11 November 2021 (UTC)&lt;br /&gt;
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Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &amp;quot;''A Dream in Red Mansions''&amp;quot;'' for this book. In this preface, he said that the current printed Chengyi edition was the final edition made by Gao E and Cheng Weiyuan which was revised carefully by gathering all kinds of original editions to make sure no incorrect information was in it. This edition had many corrections so it was much better than the Chengjia edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:58, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
但这个本子发行在后，程甲本已有人翻刻了；初本的一些矛盾错误仍旧留在现行各本里，虽经各家批注里指出，终没有人敢改正。胡适先生并举了三个例子，以证明“程乙本”胜于“程甲本”。由此可知，胡适先生不仅是第一个发现并公开指出“程乙本”胜于“程甲本”的人，而且推荐并贡献出了自己珍藏的“程乙本”初刊本，为“程乙本”后来的广泛流行起了决定性的作用。&lt;br /&gt;
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But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors from the original edition still remained in the current edition. Although many literary masters has pointed out these mistakes in their annotations, no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, which played a decisive role in the wide popularity of this edition.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 00:55, 7 November 2021 (UTC)&lt;br /&gt;
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But after the release of this edition, Cheng Jia edition has already been reprinted. Some contradictions and errors of the original edition still remained in the current edition. Although many literary masters had pointed out these mistakes in their annotations, but no one eventually dared to correct them. And Mr. Hu Shi gave three examples to prove that Cheng Yi edition was better than Cheng Jia edition. So it can be seen that he was not only the first to discover and publicly pointed out this, but also recommended and contributed the original Cheng Yi edition of his own treasure, and that played a decisive role in the wide popularity of its  edition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 06:19, 7 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
汪原放先生也没有辜负胡适先生的重托，不仅出版了“程乙本”，而且对两个“程本”加以仔细对勘，并用增删改动文字的统计数字与具体例子（详见下文），进一步证明了“程乙本”优于“程甲本”。由于胡适先生的学术威望和汪原放先生点校的“程乙本”面世，尤其是“程乙本”确实胜于“程甲本”，故此后书商大多舍弃了“程甲本”，竞相刊印“程乙本”，“程乙本”几乎一统天下。这种局面一直持续到上世纪五六十年代。&lt;br /&gt;
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Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &amp;quot;Cheng Yiben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Yiben&amp;quot;, and changed the statistics and specific examples (see below for details), further proving that &amp;quot;Cheng Yiben&amp;quot; was better than &amp;quot;Cheng Jiaben&amp;quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &amp;quot;Cheng Yiben&amp;quot; were published, especially &amp;quot;Cheng Yiben&amp;quot; was indeed better than &amp;quot;Cheng Jiaben&amp;quot;, so most booksellers abandoned &amp;quot;Cheng Jiaben&amp;quot; and competed to print &amp;quot;Cheng Yiben&amp;quot;, &amp;quot; Cheng Yiben &amp;quot; almost unified the whole world. The situation has been continuing until the 1950s and 1960s.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:48, 6 November 2021 (UTC)&lt;br /&gt;
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &amp;quot;Cheng Yi Ben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Ben&amp;quot;, and further proved that &amp;quot;Cheng Yi Ben&amp;quot; was better than &amp;quot;Cheng Jia Ben&amp;quot; with statistics and specific examples of adding, deleting and changing words (see below for details). Due to the academic prestige of Mr. Hu Shi and the appearance of &amp;quot;Cheng Yi Ben&amp;quot; ordered by Mr. Wang Yuanfang, especially &amp;quot;Cheng Yi Ben&amp;quot; is indeed better than &amp;quot;Cheng Jia Ben&amp;quot;, most booksellers abandoned &amp;quot;Cheng Jia Ben&amp;quot; and competed to publish &amp;quot;Cheng Yi Ben&amp;quot; and &amp;quot;Cheng Yi Ben&amp;quot; almost dominates the world. This situation lasted until the 1950s and 1960s.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:31, 7 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
然而到了八十年代以后，“程乙本”一统天下的局面却被打破了，各种版本的《红楼梦》纷纷涌现，其中多为拼凑本，即前八十回采用抄本，后四十回则多采用高鹗作废了的“程甲本”，从而造成了《红楼梦》版本的混乱现象。这种混乱现象使本来已经解决了的《红楼梦》版本问题又重新出现纷争，也使普通读者陷入了不知如何选择《红楼梦》的境地。&lt;br /&gt;
However, after the 1980s, the situation of &amp;quot;Cheng Yi Ben&amp;quot; dominating the world was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were piecemeal copies, that is, the transcripts of the first 80 chapters were used, and the &amp;quot;Cheng Jia Ben&amp;quot; cancelled by Gao e was used in the last 40 chapters, resulting in the confusion of the version of The Dream of Red Mansions. This chaotic phenomenon makes the original version of The Dream of Red Mansions once again controversial, and makes ordinary readers fall into the situation of not knowing how to choose a dream of Red Mansions.&lt;br /&gt;
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However, after the 1980s, the dominating situation of &amp;quot;Cheng Yi version&amp;quot;was broken, and various versions of The Dream of Red Mansions emerged one after another, most of which were cobbled together, where the first eighty editions used the codified version, while the last forty editions mostly used Gao E's cancelled Cheng Jia version, thus causing confusion in the version of a Dream of Red Mansions.This kind of confusion makes the issue of the edition of a Dream of Red Mansions reappear, and also makes ordinary readers have no idea how to choose a Dream of Red Mansions.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:27, 10 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
钱锺书先生虽然不研究《红楼梦》，但对《红楼梦》版本的混乱现象却很不以为然。他在上世纪九十年代说过（大意）：《红楼梦》研究中的许多纠葛与纷争，大多源于版本问题。在同一问题上，张三根据这个版本，李四根据那个版本，公说公有理，婆说婆有理，一万年也说不清，实在无谓得很。&lt;br /&gt;
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Although Qian zhongshu never study ''The Dream of Red Mansions'', he considers that the phenomenon of mess versions does not really matter.In the 1990s, he said that (roughly meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:23, 10 November 2021 (UTC)&lt;br /&gt;
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Although Qian zhongshu never study ''The Dream of Red Mansions'', he considered disapprovingly that the phenomenon of chaos versions does not really matter.In the 1990s, he said that (a rough meaning)most of the disputes in the study of ''The Dream of Red Mansions'' resulted from the issue of versions. On the same issue, different people refer to different versions for their so-called reasonable purpose.Thus, the disputes can never be settled. And such a phenomenon is really meaningless.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:47, 10 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
这是《红楼梦》的悲剧，也是中国学界的悲剧。为了永久保存《红楼梦》这笔珍贵遗产，也为了给广大读者提供一个《红楼梦》的范本，必须从众多版本中确定一个最好的版本，而这个版本就是胡适先生推荐的“程乙本”。至于其他版本，则只供研究之用。&lt;br /&gt;
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This is not only the tragedy of The Dream of the Red Chamber , but also the tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of The Dream of the Red Chamber and provide readers with a model of The Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &amp;quot;Cheng Yi version&amp;quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:00, 6 November 2021 (UTC)&lt;br /&gt;
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This is not only a tragedy of Dream of the Red Chamber , but also a tragedy of Chinese academic circles. In order to permanently preserve the precious heritage of Dream of the Red Chamber and provide readers with a model of Dream of the Red Chamber, we must determine the best version from many versions, and this version is the &amp;quot;Cheng Yi version&amp;quot; recommended by Mr. Hu Shi. Other versions are only for research purposes only.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:15, 7 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
我完全赞成以上诸位先生的看法，毋须我再费笔墨，所以我在这里只是为他们的看法提供一些实例。首先，“程乙本”的前八十回由于经过了高鹗(也许还有程伟元)的大量修订，较之诸抄本大有改观，使之更加完善。具体来说，就是对众多异文加以筛选，去除讹误，择善而从，并加以必要的补阙、修改、删节和增饰。&lt;br /&gt;
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I totally agree with the views of the above teachers, so I don't need to say more, so I will just provide some examples for their views here. First of all, the first eighty books of &amp;quot;Cheng Yi version&amp;quot; have been revised extensively by Gao Osprey (and perhaps Cheng Wei Yuan), which is a great improvement over the codices and makes it more perfect. Specifically, it is the screening of many different texts, the removal of errors, the selection of good, and the necessary additions, modifications, abridgments and additions.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 10:56, 7 November 2021 (UTC)&lt;br /&gt;
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I totally agree with the opinions of you all, so I don't bother to say more. So I will just provide some examples for their views here. First of all, the first eightith chapters of &amp;quot;Cheng Yi's version&amp;quot; have been revised for many times by Gao Osprey (and perhaps Cheng Wei Yuan), which is an improvement over the codices and makes it more perfect. Specifically, it made a selection from many different texts, corrected errors, selected the good, and offered the necessary additions, modifications, removal and polishment.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:28, 8 November 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
试举六例如下：例一：原作第十七、十八两回合用一套回目，第十九回没有回目。高鹗将那套合用的回目归第十七回，而为第十八、十九两回补拟了回目。例二：原作第十八回写元妃省亲回府，“只见园中香烟缭绕，花彩缤纷，处处灯光相映，时时细乐声喧，说不尽太平景象，富贵风流”，下面却接着有这样一段：此时自己回想当初在大荒山中青埂峰下，那等凄凉寂寞。&lt;br /&gt;
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Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have have any. Gao-E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.&lt;br /&gt;
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Here are six examples. Firstly, the chapter 17 and 18 of the original work shared the same title and the 19th one didn't have any. Gao'E merged the shared one into chapter 17 and rethought a title for chapter 18 and 19. Secondly, chapter 18 in the original one showed that Yuan concubine visited relatives, as &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:55, 14 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
若不亏癞僧、跛道二人携来到此，又安能得见这般世面？本欲作一篇《灯月赋》、《省亲颂》，以志今日之事，但又恐入了别书的俗套。按此时之景，即作一赋一赞，也不能得尽其妙；即不作赋、赞，其豪华富丽，观者诸公亦可想而知矣。&lt;br /&gt;
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If the Monk and the Taoist don't bring me here, how could I can see such elephant. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. The scene of this period, we can't get its wonderful in length even we write a praise. And if we don't write, the viewer also can imagine its luxurious richly.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 10 November 2021 (UTC)&lt;br /&gt;
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If not the monk with scappy head and the lame Taoist priest bring me here, how could I can see such the world like this. I wanted to write an ''Ode to Lantern Moon'' or ''Ode to Visiting Relatives'' to commemorate today's event, but I was afraid to falling into the conventions of other books. In the scene of this period, we can't get the wonderfulness in length even we write a praise. And if we don't write, the viewer also can imagine its luxury and richness.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 02:18, 12 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
所以倒是省了这工夫纸墨，且说正经的为是。本书前面已经交代得明明白白，大荒山青埂峰下的那块石头被一僧一道携入红尘后已幻化为口衔通灵宝玉的贾宝玉，而从这段话看，那块石头的化身却是贾元春，难道姐弟二人都是那块石头所化吗？如果说这段话的前大半截是写贾宝玉的心理活动，误安在了贾元春的头上，也还是说不通，因为不可能在描写贾元春省亲观感的文字当中无缘无故插入一段对贾宝玉的心理描写。&lt;br /&gt;
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Therefore the time to write them is saved, and it is time to talk something serious. It has been clearly explained in the front of this book that the stone under the Loveroot Peak of the Great Wilderness Mountain has been transformed into Precious Jade Merchant with psychic jade in his mouth after being brought into the world by a monk and a Taoist priest. From this paragraph, however, the incarnation of that stone is First Spring Merchant. Are both the sister and brother transformed by that stone? If the first half of this paragraph is about Precious Jade Merchant's psychological activities, and is mistakenly thought as First Spring Merchant's, it still doesn't make sense. Because it is impossible to insert a psychological description of Precious Jade Merchant into the words describing First Spring Merchant's feelings about relatives for no reason.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:16, 10 November 2021 (UTC)&lt;br /&gt;
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If the first half of this paragraph is about Precious Jade Merchant's psychological activities, which is mistakenly thought as First Spring Merchant's, it still doesn't make sense. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
尤为荒唐的是，从“观者诸公”以下文字，又突然变为作者的第三人称口气，更令人丈二金刚，摸不着头脑。如此语无伦次的拙劣文字，决非曹雪芹的原文，而是抄书者的误抄或窜文。“程乙本”将其全部删除，犹如割除了一个赘瘤，使行文变得合理而又通畅。&lt;br /&gt;
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What is particularly absurd is that, from the following words &amp;quot;all the audience&amp;quot;, and suddenly into the third person tone of the author,which is even more puzzling. Such incoherent poor text, not Cao Xueqin's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:58, 7 November 2021 (UTC)&lt;br /&gt;
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Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; deleted all of them, just like cutting out a superfluous tumor, so that the writing becomes reasonable and unobstructed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:50, 29 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
例三：原作第二十二回写荣国府作灯谜游戏，目的在于通过各人制作的灯谜，以暗示各自的性情、志向及将来结局，是全书的重要段落。大约因曹雪芹当时没有完全想好，故只写了贾母、贾政、元春、迎春、探春、惜春、宝钗的灯谜，而将宝玉、黛玉、湘云的灯谜暂缺，留待以后补写，不料曹雪芹突然去世，未及补写，致使原稿残缺。高鹗大胆地将原作宝钗的灯谜移作黛玉的灯谜，又增写了宝钗和宝玉的灯谜，我以为移得合理，增作也很精彩。&lt;br /&gt;
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Example 3: the 22nd episode of the original work is that everyone plays lantern riddles in the Jung-guo-Anwesen ，The purpose is to hint their temperament, aspirations and future outcome through the lantern riddles made by each person，It is an important paragraph of the whole book. It may be that Cao Xueqin Autor didn't think well at that time, so he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn't write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin Autor died suddenly and didn't have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:31, 12 November 2021 (UTC)&lt;br /&gt;
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Example 3: the 22nd chapter of the original work is that everyone plays lantern riddles in the Rong Mansion, The purpose is to hint their temperament, aspirations and future respectively through the lantern riddles made by each person，It is an important plot of the whole work. &lt;br /&gt;
Possibly because Cao Xueqin did not think well at that time, he only wrote the riddles of Grandma Merchant, Master Merchant, First Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant, Cherishing Spring Merchant and Precious Hairpin Marshgrass, but didn’t write the riddles of Precious Jade Merchant, Mascara Jade Forest and Fragrant-cloud History for the time being，and planned to fill them up later. Unexpectedly, Cao Xueqin died suddenly and didn’t have time to make up, resulting in the mutilation of the original. Gao E boldly changed the lantern riddle of Precious Hairpin Marshgrass into that of Mascara Jade Forest, and added the lantern riddles of Precious Hairpin Marshgrass and Precious Jade Merchant. I think this change is very reasonable and the added part is also very wonderful.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:58, 13 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
但高鹗也有失误和疏漏：失误在于删掉或漏掉了原作惜春的灯谜，疏漏在于未给湘云补写灯谜。惜春的灯谜我已补入第二十二回（参见该回原文及其注释），以弥补高鹗的失误；而湘云的灯谜却只好仍阙，成为永远的遗憾。例四：原作第二十五回在写王熙凤被魇魔法弄得精神错乱时，插入一段对薛蟠的描写：别人慌张自不必讲，独有薛蟠更比诸人忙到十分：又恐薛姨妈被人挤倒，又恐薛宝钗被人瞧见，又恐香菱被人臊皮──知道贾珍等是在女人身上做功夫的，因此忙的不堪。&lt;br /&gt;
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However, Gao E also made some mistakes and omissions: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I have added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But the lantern riddles of Fragrant-cloud History have yet to be unfilled, which becomes a permanent regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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However, Gao E also made a mistake and had an oversight: the mistake lies in deleting or missing the original lantern riddles made by Cherishing Spring Merchant, and the omission lies in not rewriting the lantern riddles for Fragrant-cloud History. I already added the riddle of Spring-cherish Merchant in Chapter 22 to make up for Gao E’s mistake; But Fragrant-cloud History’s lantern riddles have yet to be unfilled, which becomes an eternal regret. Example 4: In chapter 25 of the original,When writing about Splendid Phoenix King being deranged by magic, a description of Dragon Marshgrass is inserted: The others, it goes without saying,were still more distraught. But of them all Dragon Marshgrass was the most frantic, being afraid that in the crush his mother might be knocked over, Precious Hairpin Marshgrass stared at, or Wiselotus Potterymaker exposed to indignities -- for he knew what libertines Treasure Merchant and the rest were.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 14:51, 13 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
忽一眼瞥见了林黛玉风流婉转，已酥倒在那里。这段话十分荒谬：其一，贾、薛两家为近亲，贾珍与薛宝钗是表兄妹，贾珍怎么敢对表妹起歹心呢？薛蟠岂非杞人忧天？其二，薛蟠虽然混账，与林黛玉也是表兄妹，况且见面的机会很多，薛蟠怎么会“一眼瞥见了林黛玉”就“酥倒在那里”呢？&lt;br /&gt;
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Dragon Marshgrass's eye suddenly falling on  Mascara Jade Forest, he was so enchanted by her charms that he almost melted on the spot. This paragraph is very absurd: First, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin?  Isn't Dragon Marshgrass entertained imaginary and groundless fear? Second, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet Mascara Jade. How could Dragon Marshgrass“almost melted on the spot when his eye suddenly fell on Mascara Jade Forest”? --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:44, 12 November 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass suddenly caught a glimpse of Mascara Jade Forest, who was pretty and gentle, and collapsed there. This paragraph is very absurd: Firstly, Family Merchant and Family Marshgrass are close relatives, and Treasure Merchant and Precious Hairpin Marshgrass are cousins. How dare Treasure Merchant want to have a love affair with his cousin?  Isn't Dragon Marshgrass alarmist? Secondly, although Dragon Marshgrass is a jerk, Mascara Jade Forest is his cousin. Besides, there are many opportunities to meet  Mascara Jade. How could Dragon Marshgrass “collapsed there because of a glimpse of Mascara Jade Forest”?--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:15, 14 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
而脂批竟称赞道：“忙中写闲，真大手眼、大手笔。”这如果不是偶然失误，便只能说是不识好歹了。“程乙本”将其删除，倒可当得起“大手眼、大手笔”的评语。例五：原作第六十三回中用了一千多字的篇幅，大写贾宝玉、史湘云等人只是为了好玩，如何将芳官、葵官打扮成“小土番儿”，如何改称“犬戎名姓”。&lt;br /&gt;
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However, the Zhi Yanzhai's critiques unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&amp;quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &amp;quot;Cheng Yi version&amp;quot; deletes it, it can be regarded as a comment of &amp;quot;big eyes and a big deal&amp;quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to capitalize the name of Precious Jade Merchant, Fragrant-cloud History and others, which is just for fun, and to describe how to dress Fragrant Official and Sunflower as &amp;quot;Xiao Tu Fan er&amp;quot; and how to change &amp;quot;the surname and name of Quan Rong&amp;quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)&lt;br /&gt;
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However, critiques of Zhi Yanzhai(one of the earliest critics of &amp;quot;A Dream in Red Mansions&amp;quot; )  unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really weighty.&amp;quot; If it is not an accidental mistake, it can only be said to be ungrateful. &amp;quot;Cheng Yi version&amp;quot; deletes it, thus it can be regarded as the comment of &amp;quot;weighty writings&amp;quot;. Example 5: in the sixty-third chapter of the original work, more than 1,000 words were used to describe that how Precious Jade Merchant, Fragrant-cloud History and others dress Fang Guan and Kui Guan as &amp;quot;Xiao Tu Fan er&amp;quot; and how they change &amp;quot;the name of Quan Rong&amp;quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
而且竟然让贾宝玉说出这样的话来：如今四海宾服，八方宁静，千载百载，不用武备。咱们虽一戏一笑，也该称颂，方不负坐享升平了。这种描写既十分无聊，又与贾宝玉的性格背道而驰，尤其侮辱了包括满族在内的少数民族，真可谓拙劣的文字，因此“程乙本”完全予以删除是绝对必要的。&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&amp;quot;Nowadays, people within Four Seas were all submitted and social stability was achieved in all directions. Weapons were not needed in nearly thousands of years. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&amp;quot; This kind of descriptions were very boring and ran counter to the characteristics of Precious Jade Merchant, and they particularly insulted national minorities including Manchu, which were really bad writings. Thus, it's quite necessary for &amp;quot;Cheng Yi's version&amp;quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&amp;quot;Nowadays, people from all over the world bow to our emperor, and social stability's greatly achieved. No military preparation's needed in the days ahead. Therefore, our laughs and teases also deserved extolling thus we lived up to the prosperity.&amp;quot; Such descriptions are boring and against Baoyu's characteristic, and also insulted national minorities including Manchu, which are truly awful writings. Thus, it's quite necessary for Cheng&amp;amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
例六：原作第六十一回开头有一段写柳家的与小厮斗嘴的文字，既毫无意义，又有“几根×毛”、“×声浪嗓”的粗话，故“程乙本”删掉了百馀字也完全正确。像这样的例子不胜枚举，它们足可以证明，高鹗对前八十回的修订是完全必要和合理的，“程乙本”前八十回优于原作的事实是任何人也难以抹煞的。其次，再就两种“程本”而言，由于“程乙本”是“程甲本”的修订本，自然也就更加完善。&lt;br /&gt;
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Example six: The descriptive words about the argument between Liu's and his servant in the chapter sixty one of the original version are quite meaningless, and vulgarism like &amp;quot;some x hairs&amp;quot;,&amp;quot;some nasty voices&amp;quot; are also included at the same time，that's why the Cheng&amp;amp;Gao's second version had correctly deleted hundreds of words of the original one. Such examples are numerous and are solid proofs to the necessity and justifiability of Gao E's revision of original former eighty chapters, and it's also undeniable that former eighty chapters in the Cheng&amp;amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;amp;Gao's, the second version is obviously more perfect for it's revised on the base of the first one.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:33, 12 November 2021 (UTC)&lt;br /&gt;
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Example six: the original 61st back at the beginning of a paragraph to write the  fighting words by Liu and his following boy, not only meaningless, but also &amp;quot;a few pubic hair&amp;quot;, &amp;quot;obscene voice&amp;quot; of foul language, so &amp;quot;Cheng B book &amp;quot;deleted a few hundred words is also completely correct. Such examples are numerous, and they are sufficient to prove that the revision of the first eighty chapters by Gao Hu is completely necessary and reasonable, and the fact that the first eighty chapters of &amp;quot;Cheng B book&amp;quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &amp;quot;Cheng books&amp;quot;, since the &amp;quot;Cheng B book&amp;quot; is a revised version of the &amp;quot;Cheng A book&amp;quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
关于这一点，最有力的证据是一组现成的统计数字。前面说过，汪原放先生于1927年曾将“程乙本”与“程甲本”加以对勘，并将两者的异文作了统计，其结果是：“程乙本”较之“程甲本”改动(包括增与改)了总共21506字，其中前八十回改动15537字，后四十回改动5969字。(见汪原放《重印乾隆壬子本〈红楼梦〉校读后记》)这些改动主要有三个方面：其一，是对“程甲本”中的“纰缪”文字加以改正。&lt;br /&gt;
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About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot; changes (including increase and change) a total of 21506 words, including the first eighty chapters changed 15537 words, the last forty chapters changed 5969 words. (See Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the &amp;quot;Cheng A book&amp;quot; in the &amp;quot;error&amp;quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: a total of 21506 words (including complements and modifications) were changed in &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the modification of the &amp;quot;error&amp;quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
如第二回“冷子兴演说荣国府”中，“程甲本”对原作的如下一段文字未作改动：这政老爷的夫人王氏……第二胎生了一位小姐，生在大年初一，就奇了。不想次年又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。这位“小姐”就是贾元春(元妃)，这位“公子”就是贾宝玉。&lt;br /&gt;
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For example, the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; in chapter 2, &amp;quot;Cheng Jia's translation version&amp;quot; did not change the following text of the original work: The wife of Lord Zheng Mrs Wang…… gave birth to a girl on the first day of the lunar year,which was magical enough. It was even more magical that she gave birth to a boy in the next year: he was born with a colorful and crystal jade in his mouth, and the jade was written by some scripts. The &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)&lt;br /&gt;
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For example, in the &amp;quot;Son Happy Cold's speech in Glory Mansion&amp;quot; from chapter 2, the following text of the original work remained intact in &amp;quot;Cheng Jia(the first)edition&amp;quot;: Lady King, the wife of Master Merchant …… gave birth to her second child, a girl, on the first day of the lunar year, which was magical enough. It was even more magical that she gave birth to a boy in the following year:  when he was born, a colorful and crystal jade with many scripts on it was in his mouth. The &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
而这段文字显然与第十八回中的一段文字相矛盾：那宝玉未入学之先，三四岁时，已得元妃口传，教授了几本书，识了数千字在腹中：虽为姊弟，有如母子。&lt;br /&gt;
“有如母子”的贾元春和贾宝玉，不可能只差一岁，可见第二回那段文字有明显的“纰缪”。“程乙本”将“次年”改为“隔了十几年”，便合情合理了。&lt;br /&gt;
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This paragraph obviously contradicts with the description in the eighteenth chapter: before Precious Jade,at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had known thousands of words in his mind. They are sister and brother in blood relation, but more like mother and son. Precious Jade Merchant and First Spring Merchant, &amp;quot;like mother and son&amp;quot;,could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)&lt;br /&gt;
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While this paragraph obviously contradicts with one in the eighteenth chapter: before Precious Jade, at the age of three or four, entered the school, he had been taught several books by Yuan Concubine(First Spring Merchant) by word of mouth and thus had learned thousands of words in his mind. They are elder sister and younger brother, but more like mother and son. Precious Jade Merchant and First Spring Merchant could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
其二，是将文言词语尽量改为白话或俗语，从而使《红楼梦》的语言更为通俗易懂。譬如：“若”改为“要”，“与”改为“给”，“亦”改为“也”，“此”改为“这”，“口”改为“嘴”，“何”改为“为什么”，“如何”改为“怎么”，“如此”改为“这么着”，“葳蕤”改为“委琐”，等等。其三，是增加了许多“儿”字，将词语加以“儿”化，从而使《红楼梦》语言的京味特点更加突出。&lt;br /&gt;
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Secondly, classical words were changed into vernacular or colloquial language as far as possible so as to make the language of A Dream of Red Mansions more understandable. For instance: &amp;quot;ruo&amp;quot; was translated into &amp;quot;yao&amp;quot;(if), &amp;quot;yu&amp;quot; into &amp;quot;yao&amp;quot;(to), &amp;quot;yi&amp;quot; into &amp;quot;ye&amp;quot;(also), &amp;quot;ci&amp;quot; into &amp;quot;zhe&amp;quot;(this), &amp;quot;kou&amp;quot; into &amp;quot;zui&amp;quot;(mouth),&amp;quot;he&amp;quot; into &amp;quot;wei shen me&amp;quot;(why), &amp;quot;ru he&amp;quot; into &amp;quot;zen me&amp;quot;(how), &amp;quot;ru ci&amp;quot; into &amp;quot;zhe me zhao&amp;quot;(in this way), &amp;quot;weisui&amp;quot; into &amp;quot;weisuo&amp;quot;(obscene) and so on. Thirdly, lots of &amp;quot;er&amp;quot; were added into A Dream of Red Mansions, so that the Beijing flavor of the language in A Dream of Red Mansions is more distinct.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:08, 10 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
关于这一点，几乎随处可见，因而不再举例。《红楼梦》是一部近百万字的巨著，要想完全揭示“程乙本”的版本优点，只能将它与其他版本一一对勘，并将异文一一列出。单凭以上的简单说明，只能是挂一漏万。&lt;br /&gt;
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This point can be seen almost everywhere, so I will not give examples. “Dream of the Red Chamber” is a masterpiece of nearly one million words. If we want to fully reveal the merits of  &amp;quot;Cheng Yi's translation version&amp;quot;, we can only investigate it with other translation versions and list the differences one by one. The above simple explanation is still incomplete and full of omissions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 07:24, 10 November 2021 (UTC)&lt;br /&gt;
This point can be seen almost everywhere, so I don't want to give an example.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:25, 12 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
不过我可以向读者负责地保证：如果你是出于欣赏的目的阅读《红楼梦》，那么选择“程乙本”将是最明智的。三、校勘问题 我们说“程乙本”为《红楼梦》的最佳版本，并不是说它完美无缺，也不是说其他版本一概不如“程乙本”，只是说它在总体上更胜一筹而已。&lt;br /&gt;
But I can responsibly assure readers that if you are reading a Dream of Red Mansions for enjoyment, cheng Yiben is the wisest choice. To say that Cheng Yiben is the best version of a Dream of Red Mansions does not mean that it is perfect, nor that all other versions are inferior to Cheng Yiben, but that it is superior in general.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:23, 12 November 2021 (UTC)&lt;br /&gt;
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But I can responsibly assure readers that if you are reading ''A Dream of Red Mansions'' for enjoyment, Cheng Yi version is the wisest choice. Three: Revision. To say that Cheng Yi  version is the best version of ''A Dream of Red Mansions'' does not mean that it is perfect, nor that all other versions are inferior to Cheng Yi version, but that it is superior in general.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:42, 16 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
事实上，或因高鹗和程伟元的疏忽，或因排字工人的失误，致使“程乙本”仍存在不少“纰缪”。譬如：第八十六回说贾元春生于“甲申年正月丙寅”；至第九十五回则说：“是年甲寅年十二月十八日立春，元妃薨日是十二月十九日，已交卯年寅月，存年四十三岁。”“程甲本”和“程乙本”都是如此。&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day consort Yuan died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that  First Spring Merchant was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;In that year, the spring began on December 18th of the lunar calendar, Jiayin year, and the day Princess Merchant died was on December 19, which was in the month of Yin and year of Mao. Hence consort Yuan died at the age of 43.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
而实际上前后存在明显矛盾：甲申年至甲寅年是三十年，按照当时以虚岁计算年龄的习惯，元妃享年应是三十一岁；即使因元妃薨于立春次日，算作乙卯年，也只有三十二岁。无论如何也不会是四十三岁。可见“程甲本”已错，而“程乙本”也没有订正。&lt;br /&gt;
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In fact,there is clear contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time,  Princess Merchant  would have been thirty-one years old; even if the death of  Princess Merchant  took place on the day after the first day of spring, which is counted as the year yi Mao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised.&lt;br /&gt;
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In fact,there is an obvious contradiction:the years from JiaShen to JiaYin are thirty years, and according to the custom of calculating age in terms of nominal age at the time, Princess Yuan would have been thirty-one years old; even if the death of Princess Yuan took place on the day after the first day of spring, which is counted as the year YiMao, she would have been only thirty-two years old. In any case, it would not have been forty-three years old. It is clear that the &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
这个明显的失误，早在1927年由汪原放校点、亚东图书馆出版的“程乙本”《红楼梦》已经改正，而上世纪八十年代以后出版的诸多号称经过了“精校”的“程甲本”和“程乙本”《红楼梦》，包括那些拼凑本，却依旧保留了这个失误，这不能不说是一种讽刺。其实“程乙本”的其他文字失误还有不少，并非像高鹗、程伟元所说“改订无讹”。“程乙本”既非十全十美，而我们要供献于读者的是一部普及本的《红楼梦》，因此有必要汲取其他版本的长处，使其尽量完美。&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yi Version&amp;quot; （a version of &amp;quot;A Dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927.  It is ironic that many &amp;quot;Cheng Jia Version&amp;quot; and &amp;quot;Cheng Yi Version&amp;quot;  published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yi Version&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yi Version&amp;quot; is not perfect, and what we want to offer to readers is a popular version of “A Dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:22, 7 November 2021 (UTC)&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yiben&amp;quot; （a version of &amp;quot;a dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927.  It is ironic that many &amp;quot;Cheng Jiaben&amp;quot; and &amp;quot;Cheng Yiben&amp;quot;, which claimed carefully checked and published after the 1980s , including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yiben&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yiben&amp;quot; is not perfect, and what we want to offer to readers is a widespread version of “a dream of Red Mansions.” Therefore, it is necessary to learn from the advantages of other versions to make it as perfect as possible.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 8 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
为此，本书以“程乙本”(北京图书馆出版社影印本)为底本，以“程甲本”(北京图书馆出版社影印本)为主校本，并以下列版本为参校本：汪原放校勘“程乙本”(上海亚东图书馆刊本)、王希廉(雪香)评“程甲本”(清道光十二年刊本)、“梦稿本”“庚辰本”“己卯本”“甲戌本”(后四种均为上海古籍出版社影印本)。在以上八种版本中，前五种均为一百二十回全本，后三种均为前八十回的残存本。&lt;br /&gt;
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For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as master copy, “Cheng Jiaben” as main collated edition, and the followings as references—Wang Yuanfang’s collation “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s “Cheng Jiaben” commentary(edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:43, 8 November 2021 (UTC)&lt;br /&gt;
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For this purpose, this book uses “Cheng Yiben”(photocopy of Beijing Library Publishing House) as the master copy, “Cheng Jiaben” as the main collated edition, and the followings as references—Wang Yuanfang’s collation of “Cheng Yiben”(Shanghai Yadong Library edition)、Wang Xilian’s comments on “Cheng Jiaben” (edition in the twelfth year of Qing Daoguang)、“Meng Gaoben”、“Geng Chenben”、“Ji Maoben”、and “Jia Xuben”(the last four all are photocopies of Shanghai Ancient Books Publishing House). In the above eight editions, the first five are all complete editions of 120 chapters, and the last three are all incomplete editions of 80 chapters.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:57, 8 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
我的校勘总原则是：既要尽量保持底本的原貌，又要保证全书的质量。具体来说则遵循以下几条：（一）底本与校本之间虽有异文，但底本基本可通者，即使校本文字更好，也不作改动。（二）底本中的各种错误(包括内容与文字的错误)、文字倒置、文理不通等，尽量用校本改正，若校本同样错误则径改。&lt;br /&gt;
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My primary principle of collation is that: maintain the original meaning of master copy, and garantee the quality through the book. Specifically, abiding by the following advice: One, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth remains untouched, even though the checked copy is better. Two: various mistakes in master copy（including errors in contents and text），the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy, then it should be corrected directly.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 12:43, 7 November 2021 (UTC)&lt;br /&gt;
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My primary principle of collation is that: maintain the original meaning of master copy, and guarantee the book’s quality. To be more specific, following these advices: First, although there are differences between the master copy and the checked copy, the former whose meaning is basically faithful and smooth should be untouched, even though the checked copy is better. Second: various mistakes in master copy（including errors in contents and text), like the inversion of words, unsmooth words and contents and so forth should be corrected based on master copy. But if mistakes are also existed in the master copy,  it should be corrected directly.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 06:46, 8 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
（三）底本和校本中的僻字、怪字、俗字，本来并无特别意义，毫无保留价值，只能为读者增加阅读障碍，因此径改为通用字。如“揌”和“”改为“塞”，“嘴”改为“努嘴”，“椅子”改为“拿椅子”，等等。（四）古人对别字多不在乎，故底本和校本中屡见不鲜，但在当今的读者看来却十分别扭，甚至可能被误解，因而酌情径改。&lt;br /&gt;
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Three, the rare words, strange words, common words in the master copy and in the checked copy had no special meaning, and no reservation value, can only increase the reading barrier for readers. So they need to be changed to universal words. Such as &amp;quot;揌&amp;quot; changed to “塞&amp;quot;, &amp;quot;嘴&amp;quot; changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; changed to &amp;quot;拿椅子&amp;quot;, etc. Four, the ancients didn’t care about the wrongly written characters, so it is common in the master copy and the checked copy. They seem very awkward for today's readers and may even be misunderstood.  Therefore they should be appropriately modified.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 14:12, 6 November 2021 (UTC)&lt;br /&gt;
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（3）Some characters in a copy for the record or for reproduction and in checked copy, which are not commonly used, or look strange, or are popular but irregular, have no special significance and no reserved value, only increasing the reading barrier for readers. Therefore, these characters are changed to universal characters. For example, &amp;quot;揌&amp;quot; are changed to &amp;quot;塞&amp;quot;, &amp;quot;嘴&amp;quot; is changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; is changed to &amp;quot;拿椅子&amp;quot; and so on.（4） The ancients didn't care much about the wrongly written characters, so they can be commonly seen in a copy for the record or for reproduction and in checked copy. However, when seeing these characters, today’s readers may feel awkward, and may even misunderstand their meanings. Thus they are supposed to be changed for appropriateness.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 7 November 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
如“必真”改为“逼真”，“奈烦”改为“耐烦”，“悔气”改为“晦气”，“渥”改为“焐”，“握”改为“捂”，等等。（五）有些字在古代汉语中可以通用（借用），在现代汉语中却严加区分。《红楼梦》也存在大量借用字，如果一一加以改动，不一定合适。&lt;br /&gt;
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For example, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;, &amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot; and so on. Some words can be commonly used (borrowed) in ancient Chinese, While in modern Chinese they are strictly distinguished. There are also a large number of loanwords  in the A Dream of Red Mansions, which may not be appropriate if changed one by one.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 6 November 2021 (UTC)&lt;br /&gt;
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For instance, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;,&amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot;, etc. Wait. Some characters can be used (borrowed) in ancient Chinese, but they are strictly distinguished in modern Chinese. There are also a lot of borrowed words in &amp;quot;A Dream of Red Mansions&amp;quot;. If you change them one by one, it may not be appropriate.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:44, 10 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
因此只有在以下两种情况之下才作改动：一是可能引起误解；二是同一词语而用字不同。如等同于数字“一”的“么”，极易与“什么”、“怎么”的“么”相混，故改为“幺”。又如表示时间的“一会”和“一回”混用，“一会儿”和“一回儿”混用，统一为“一会”和“一会儿”；表示位置的“旁”和“傍”混用，“旁边”和“傍边”混用，统一为“旁”和“旁边”；“赔礼”和“陪礼”混用，“赔罪”和“陪罪”混用，统一为“赔礼”和“赔罪”；等等。&lt;br /&gt;
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Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase but different words. For example, the &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicate position are mixed together, &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , Unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;; and so on.&lt;br /&gt;
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Therefore, changes should only be made in the following two situations: one is that it may cause misunderstanding; the other is the same phrase formed by different words. For example, the &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and in case that  &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, they are unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;respectively ;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicating position are mixed together,and &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, so they are  unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , so they are unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
（六）本书采用简化汉字，为异体字的处理提供了方便，故一律按照简化汉字的规定处理。任何语言都在不断发展变化，故古今汉语有很大不同，以至于定字工作成为古籍整理中最为复杂的问题之一，很难做到尽善尽美。仅根据以上几条，只能是有助于减少读者的阅读障碍罢了。&lt;br /&gt;
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(Six) Simplified Chinese characters are used in this book to provide convenience for the processing of variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so ancient and modern Chinese is very different. Therefore, deciding which word to use has become one of the most complex problems in the collection of ancient books, which is difficult to be perfect. Just according to the above, it can only help reduce the difficulties in their reading.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 13:59, 8 November 2021 (UTC)&lt;br /&gt;
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Simplified Chinese characters are used in this book to provide convenience for the processing of the variant characters. Therefore, they are processed in accordance with the provisions of simplified Chinese characters . Any language is constantly changing, so great differences exist between ancient and modern Chinese. Therefore, deciding which word to use has become one of the most complex issues in the collection of ancient books, which is difficult to be perfect.According to the above, it can only help reduce the difficulties in readers' reading.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:23, 30 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
为了节省篇幅，一律不出校文。四、注释问题 “注释”亦称“注解”，最初是由于经书文字艰涩难懂，故对经书的字句加以解释；如果注文仍旧难懂或未尽其义，再对注文加以解释，则称“疏”。注文和疏文合称则谓之“注疏”。&lt;br /&gt;
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In order to save space, no proofread article will be published. Fourth,issues &amp;quot;explanatory note&amp;quot; is also called &amp;quot;annotation&amp;quot;. At first, it explained the words and sentences of the Scriptures because the texts of the scriptures were difficult to understand; if the annotations were still difficult to understand or did not fully understand the meaning, then the annotations will be explained, it was called &amp;quot; sparse&amp;quot;. The combination of Zhuwen and Shuwen is called &amp;quot;Notes and Shu&amp;quot;. &lt;br /&gt;
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In order to save space, no proofreading will be published. 4、 Annotation question &amp;quot;Annotation&amp;quot; is also called &amp;quot;Annotation&amp;quot;.At first, the words in the Scriptures were difficult to understand,therefore, explain the words and sentences in the scriptures; If the annotation is still difficult to understand or does not fulfill its meaning, and then explain the annotation, it is called &amp;quot;sparse&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==&lt;br /&gt;
后来逐步扩大范围，对一切文献中的疑难字句加以解释，均称之为“注释”。由于中国历史悠久，古今汉语及名物变化巨大，致使后人读古籍的困难越来越大，因此对古籍的注释也就显得越来越有必要。《红楼梦》虽是一部旧白话小说，但它汲取了诗、词、曲、赋、歌、诔等各种精华，又涉及谜语、酒令、建筑、服饰、珍禽异兽、奇花异卉、神话传说、名人秀女、琴棋书画、医卜星相、风俗礼仪等多种知识，白话文言间用，成语典故成堆。&lt;br /&gt;
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Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &amp;quot;notes&amp;quot;. Due to China's long history and great changes in ancient and modern Chinese ,which makes it more and more difficult for future generations to read ancient books. Therefore, it is more and more necessary to annotate ancient books. Although 《The Dream of Red Mansion》 is an old vernacular novel,but it has absorbed all kinds of essences such as poetry, CI, Qu, Fu, song, and so on.It also involves riddles, wine orders, architecture, clothing, rare birds and animals, exotic flowers&lt;br /&gt;
Myths and Myths and legends, celebrities and beauties, Qin, chess, calligraphy and painting, medical divination of stars, customs and etiquette and other knowledge are used between vernacular and Idioms and allusions pile up.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
对于一般读者来说，所有这些都可能是阅读中的绊脚石。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
本注释的使命就是为读者清除这些绊脚石，使阅读畅通无阻。&lt;br /&gt;
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This annotation is meant to remove the barriers in  reading and make it easier to read.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
因此凡是我认为可能影响读者阅读的地方，便予以注释，决不假装视而不见，决不避难就易。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
为了节省篇幅，我仅举一例。第五十六回“敏探春兴利除宿弊，贤宝钗小惠全大体”中，有贾探春与薛宝钗谈论经济的一段话：&lt;br /&gt;
In order to save space, I will give just one example. In the fifty-sixth chapter, &amp;quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&amp;quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
宝钗笑道：“真真膏粱纨袴之谈。你们虽是千金，原不知道这些事。&lt;br /&gt;
Baochai smiled and said: &amp;quot;It's really tempting to talk about it. Although you--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:09, 6 November 2021 (UTC) are a daughter, you don't know these things.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
但只你们也都念过书，识过字的，竟没看见过朱夫子有一篇《不自弃文》么？”&lt;br /&gt;
But if you have all studied and read, haven't you seen Master Zhu's article &amp;quot;Don't Abandon Oneself&amp;quot;?&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
探春笑道：“虽也看过，不过是勉人自励，虚比浮词，那里真是有的？”&lt;br /&gt;
Tanchun said and smile, &amp;quot;Although I have seen it, it's just a matter of encouraging others to encourage themselves. It's a meaningless word. Is there really something happen?&amp;quot;&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
你才办了两天事，就利欲熏心，把朱子都看虚浮了。&lt;br /&gt;
You have been working on it for two days only, and blinded by greed, you have made ZhuZi look vain.--[[User:HIKMET ONCU KADIOGLU|HIKMET ONCU KADIOGLU]] ([[User talk:HIKMET ONCU KADIOGLU|talk]]) 16:52, 6 November 2021 (UTC)&lt;br /&gt;
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You have only been doing things for two days, then you desire for money and profit fascinated the heart, and you think Zhu Zi is Unrealistic. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:29, 8 November 2021 (UTC)Akira Jantarat&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”&lt;br /&gt;
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If you go to a larger world and see greater benefits or disadvantages, I am afraid you will be a little bit down on what Kongzi said.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 14:19, 6 November 2021 (UTC)Akira&lt;br /&gt;
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If you go out again and see the pros and cons of major events, you will be even more deceptive!--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:50, 7 November 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
探春笑道：“你这样一个通人，竟没看见《姬子》书？&lt;br /&gt;
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Tan-tschun Smiled and said &amp;quot;you are such a familiar person, but have you read the &amp;quot;Ji Zi&amp;quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)&lt;br /&gt;
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Tan-tschun smiled and said: &amp;quot;You are such a familiar person, but haven't you read the book &amp;quot;Ji Zi&amp;quot;? --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:57, 7 November 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
当日《姬子》有云：‘登利禄之场，处运筹之界者，穷尧舜之词，背孔孟之道。’”&lt;br /&gt;
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On that day, &amp;quot;Jizi&amp;quot; said: ‘The field of Deng Lilu, those who are in the realm of management, are poor in the words of Yao and Shun, and recite the way of Confucius and Mencius. ’&amp;quot;&lt;br /&gt;
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW&lt;br /&gt;
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)&lt;br /&gt;
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There was a saying in ''Himeko'' that day: &amp;quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
宝钗笑道：“底下三句呢？”探春笑道：“如今断章取义，念出底下一句，我自己骂我自己不成？”&lt;br /&gt;
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Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now that I have read the next sentence out of context, can I blame myself for failing?&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)&lt;br /&gt;
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Translation: Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&amp;quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。&lt;br /&gt;
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Translation: In this passage, Zhu Xi's &amp;quot;don't abandoned the text--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 14:13, 6 November 2021 (UTC)&amp;quot; and the book &amp;quot;Ji Zi&amp;quot; are mentioned.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
我所看到的几个《红楼梦》注本，对《不自弃文》有所注释，而对《姬子》却避而不注。&lt;br /&gt;
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I have read different annotations of ''A Dream in Red Mansions'', in which there are some explaination to ''No Self-surrender'' while no notes to ''Jizi''.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:21, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
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		<title>20211103 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211103_homework&amp;diff=135077"/>
		<updated>2021-12-31T07:26:49Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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由于八旗官学中向来有习清书、习汉书之分的传统，礼部遂奏请采用不同方式，对应试者分别考试翻译或清字文，无论乡试、会试，皆是如此，而区别只在于会试时针对应试者学习语言的不同背景，各自增加了一道题量，即，习汉字者除了考试汉字文翻译，另考试文章一篇，习清文者则在乡试的基础上，增试清字文一篇。这一规定既针对八旗满洲，也针对八旗蒙古，但不针对八旗汉军，后者的考试内容与普通汉族士子相同。同时，礼部也奏请对笔帖式和他赤哈哈番、哈番（即，笔帖式哈番）参加乡、会试进行规定，其中前者参加乡试，后二者参加会试。&lt;br /&gt;
Since there has always been a tradition of learning the Books of Qing style and the Book of Han style in the Eight Banners Official Schools, the Ministry of Rites adopted different ways to test translation or the article forming in the style of Qing Dynasty for the candidates, regardless of the rural test and the meeting test. The difference is that only the number of questions was increased according to the different backgrounds of the candidates’ language learning in the meeting test. That is to say, in addition to the translation of the language of Han, the Chinese learners of Han Style also had one test article. On the basis of the rural test, the Qing learners added one test article of its language. This regulation is for the Eight Banners of Man Region and Men’gu, but not for the Eight Banners of Han Army. The test content of the latter is the same as that of the ordinary Han scholars. At the same time, the Ministry of Rites also invited two region that besides the Eight Banners to participate in the rural and meeting examinations. The former participated in the rural examination, and the latter two participated in the meeting examination.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 15:20, 30 October 2021 (UTC)&lt;br /&gt;
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Since there has always been a tradition of learning Qing books and Han books  in the Eight Banners official school, the Ritual Department asked to use different methods. The corresponding subjects were tested for translation or Qing characters, both in the provincial examination and the joint examination. The only difference is that when the joint examination was held, one question was added to the corresponding subjects' different backgrounds of learning the language, that is, in addition to testing the translation of Chinese characters, Another examination article was given, while those who studied Qing characters added one article written by Qing characters on the basis of the township examination. This provision is not only for Manchuria of the Eight Banners, but also for Mongolia of the Eight Banners, but not for the Han army of the Eight Banners. The examination content of the latter is the same as that of ordinary Han scholars. At the same time, the Ministry of rites also asked for regulations on the participation of pen style and his Chi ha fan and ha fan (i.e. pen style ha fan) in the township and joint examination, in which the former participated in the township examination and the latter two participated in the joint examination.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 15:40, 30 October 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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上文引用的内容也出现在《雍正会典》（又称《（雍正）大清会典》），以及两部《钦定大清会典事例》（嘉庆、光绪）中，三者都明确提到停止（八旗）考试的具体时间，即顺治十四年（1657年），而且三者中都加有“按语”，进一步说明此事。其中，《雍正会典》中的说法是“此后复行考试，与汉人一体。停止翻译”，《钦定大清会典事例》中的说法则是“康熙二年（1663）谕：满洲、蒙古、汉军生员俱准乡试。此后惟翻译未经举行。”&lt;br /&gt;
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The content quoted above also appears in the Yong Zheng canon . (also known as the (Yong Zheng) Qing Dynasty canon ) and the two cases of imperial Qing canon (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi  (1657), and &amp;quot;notes&amp;quot; were added to further explain the matter. Among them, the statement in the Yong Zheng canon is that &amp;quot;after that, the examination will be resumed and integrate with the Han people.Stop translation&amp;quot;. The statement in the case of the imperial Qing canon is that &amp;quot;in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held.&amp;quot;&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:20, 28 October 2021 (UTC)&lt;br /&gt;
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The content quoted above also appears in the Code of  Yongzheng . (also known as the (Yong Zheng) Code of Great Qing Dynasty) and the two cases of Regulations on  Code of Great Qing Dynasty (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi  (1657), and &amp;quot;notes&amp;quot; were added to further explain the matter. Among them, the statement in the Code of  Yongzheng is that &amp;quot;after that, the examination will be resumed and integrate with the Han people.Stop translation&amp;quot;. The statement in the case of the Regulations on  Code of Great Qing Dynasty is that &amp;quot;in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:39, 5 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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（允禄等，1995：4619-4620；托津等，1991：2659-2662；昆冈等，1963：657）从《雍正会典》的记载及其“按语”看，至少可以推导出两点：其一，八旗科举考试始于顺治十四年前，但十四年即停办；其二，顺治十四年前，翻译科便已存在。顺治十四年以后，八旗科举考试得以恢复，但翻译科举仍被停止。&lt;br /&gt;
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(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the &amp;quot;Code of Yongzheng&amp;quot; and its &amp;quot;notes&amp;quot;, at least two points can be deduced : First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended after 14 years; second, the translation department already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was resumed, but the translation of the imperial examination was still suspended.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:44, 5 November 2021 (UTC)&lt;br /&gt;
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(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the &amp;quot;Code of Yongzheng&amp;quot; and its &amp;quot;notes&amp;quot;, at least two points can be infered: First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended in the 14th year; second, the translation department has already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was reheld, but the translation of the imperial examination was still suspended.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 13:23, 7 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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《雍正会典》中的这一记载与两部《钦定大清会典事例》中的说法如出一辙，后二者也将顺治八年的八旗科举考试视作翻译科的第一事例。而且，三种文献均提到了停办翻译科的事，即“停止翻译”和“此后惟翻译未经举行”。固然，无论是天聪八年的八旗乡试，还是顺治八年礼部研议的八旗科举，二者皆与翻译考试有关，但就性质与意义而言，它们都不是翻译科之缘起。&lt;br /&gt;
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This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also regarded the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, &amp;quot;the cessation of translation&amp;quot; and &amp;quot;only translation has not been held since then&amp;quot;. Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but in terms of nature and significance, they are not the origin of translation study.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:25, 30 October 2021 (UTC)Chen Huini&lt;br /&gt;
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This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also sees the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, &amp;quot;the cessation of translation&amp;quot; and &amp;quot;only translation has not been held since then&amp;quot;. Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but with regard to essence and significance, they are not the origins of translation study.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 11:21, 3 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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《清实录·世祖章皇帝实录》和《八旗通志·初集》中，均将顺治八年的旗人考试称为“八旗科举”或“八旗考试”，而没有将其称作“翻译科举”或“翻译考试”，由此可知二者之区别。《钦定八旗通志》中，虽然用了“翻译考试”或“考试翻译”等字眼描述顺治时期的八旗科举，并将其视作翻译科举之源，且《清实录·圣祖仁皇帝实录》中也有康熙二年“复行满洲、蒙古、汉军翻译乡试”的记载，但上述记录实为误记的可能性较大，不排除系实录馆馆臣或编纂者依据雍正年间的情形误植所致。（叶高树，2013：52）&lt;br /&gt;
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In ''Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi Emperor'' and ''The General Annals of the Eight Banners '' , in stead of &amp;quot;translation imperial examination&amp;quot; or &amp;quot;translation exam&amp;quot;, Qi's selection in 1651 were all called &amp;quot;Eight Banners imperial examination&amp;quot; or &amp;quot;Eight Banners exam&amp;quot;， which showed the difference between those two exams.In ''The General Annals of the Eight Banners Dedicated to the Emperor''，though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during Shunzhi's period and researchers took it as the origin of translation imperial examination as well as a record in ''Veritable Records of Qing Dynasty ·Veritable Records of Kangxi Emperor'' of reinstating translation exam in rural areas of Man,Meng and Han places in 1662. But it is possibly wrong information and can not exclude the situation that officials were mistaken by records of Yongzheng Emperor.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 07:49, 29 October 2021 (UTC)&lt;br /&gt;
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In Qing Record and Record of Shunzhi Emperor and The General Annals of the Eight Banners , in stead of &amp;quot;translation imperial examination&amp;quot; or &amp;quot;translation exam&amp;quot;, Qi's selection in 1651 were all called &amp;quot;Eight Banners imperial examination&amp;quot; or &amp;quot;Eight Banners exam&amp;quot;, which showed the difference between those two exams.In The General Annals of the Eight Banners Dedicated to the Emperor, though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during the period of Shunzhi and were regarded as the origin of translation imperial examination. And in Qing Record and Record of Kangxi Emperor also had the record of resuming the Manchurian, Mongolian, Chinese army translation Provincial Examination&amp;quot; in 1662, but the above record is actually a greater possibility of misinformation, do not exclude the fact that the Museum of factual records or compilers based on the Yongzheng years of the situation misplanted. (Ye Gaoshu, 2013: 52) --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 04:03, 1 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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有清一代，以“翻译”之名选拔八旗士子的科目很多，如庶吉士、翻译庶吉士、笔帖式等，但这些考试属于各部院衙门自行选用人才的方式，均未形成独立建制，与文科举并行。所谓顺治时期八旗考试中的“翻译考试”或“考试翻译”，也只是一种考试的内容或形式，并非是一种科考制度。&lt;br /&gt;
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三、《八旗通志》等关于翻译科创建时间的订正。&lt;br /&gt;
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In Qing dynasty, there were many subjects to select scholars of the eight banners in the name of &amp;quot;translation&amp;quot;, such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to the various ministries and agencies to choose their own way of talent, had not formed an independent establishment. They were held in parallel with arts. The so-called eight banners in the Shunzhi period examination &amp;quot;translation examination&amp;quot; or &amp;quot;examination of translation&amp;quot; was only a test content or form, not a system of the imperial civil examination. &lt;br /&gt;
Third, The General Annals of the Eight Banners and other revisions on the creation of the examination of translation. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:06, 28 October 2021 (UTC)&lt;br /&gt;
In Qing dynasty, there were many subjects to select scholars of the Eight Banners in the name of &amp;quot;translation&amp;quot;, such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to various ministries and agencies to choose their own ways of selecting talents, had not formed an independent establishment, which were held in parallel with arts. The so-called “translation examination&amp;quot; or &amp;quot;examination of translation&amp;quot; of Eight Banners in Shunzhi period was only a content or form of it, not a system of the imperial civil examination. &lt;br /&gt;
Third, ''The General Annals of the Eight Banners'' and other revisions on the creation of the examination of translation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:28, 2 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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如前所述，天聪八年的八旗考试虽然有着不同类型之分，如满洲习满书、满洲习汉书等，本质上却是“语文测验”，而非翻译科考。同理，顺治八年的八旗科举虽然包含翻译考试的项目，但所谓翻译考试也只是八旗文科举的附设环节，尚未独立成科。凡此二者，皆与雍正元年研拟并于翌年首次开科，且具有独立、自主的制度设计的翻译科明显不同。&lt;br /&gt;
As mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, the reign title of Qing Dynasty, such as learning Manchurian books in Manchu, learning Han books in Manchu, etc.,which were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Shun Zhi, a reign title of Qing Dynasty, included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:54, 2 November 2021 (UTC)&lt;br /&gt;
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As it mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, such as learning Manchurian books in Manchu and learning Han books in Manchu etc, they were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Emperor Shun Zhi included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Emperor Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:59, 3 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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《雍正会典》与两部《钦定大清会典事例》中，关于翻译科创设的说法不仅与《清实录·世祖章皇帝实录》冲突，也与《八旗通志》等存在较大出入。《八旗通志》和《钦定八旗通志》中，也将顺治八年、十一年两榜满、蒙举人和进士，归于“文举人”和“文进士”之列，而不是“翻译举人”和“翻译进士”之列，并把首科翻译举人归为雍正二年甲辰科，而将首科翻译进士归为乾隆四年己未科。（鄂尔泰等，1985：3393-3396、3419-3422；铁保等，1968：811-813、828-830）&lt;br /&gt;
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The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were distributed to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:58, 29 October 2021 (UTC)&lt;br /&gt;
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The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than the translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were enrolled to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:21, 3 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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显然，在《八旗通志》和《钦定八旗通志》的编纂者看来，顺治八年、十一年的两科举人与进士均不是出自翻译科举，而是出自八旗文科举。从清代进士题名碑的情况看，也可知翻译科并非始设于顺治年间。例如，在由北京图书馆金石组编写出版的《中国历代石刻拓本汇编》（1990）一书中，收录了顺治九年、十二年两榜进士的题名碑，但题名碑的书写与文进士题名碑并无不同，碑头和碑文中都没有出现“翻译”字样。&lt;br /&gt;
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Obviously, in the opinions of editors of ''The General Annals  of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of  Shunzhi. For instance,  edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes  the inscription stones in  the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone  compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear no matter in the beginning or the text.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 06:20, 28 October 2021 (UTC)&lt;br /&gt;
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Obviously, in the opinions of editors of ''The General Annals  of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of  Shunzhi. For instance,  edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes the inscription stones in  the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone  compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear either in the beginning or the text.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:08, 5 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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而同书在处理乾隆年间的四科翻译会试（即四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科）时，碑头和碑文中却明确标注“翻译进士”，或“翻译会试”字样。（北京图书馆金石组，1990：52、169；24、146）同样的情况也见于《国朝历科题名碑录初集》，本书中关于顺治期间两榜进士（九年壬辰科、十二年乙未科）的称呼也只是“满洲进士”，而不是“翻译进士”，而且该书收录的题名中皆为文进士，未见有翻译进士。&lt;br /&gt;
However, when it comes to the collected works related imperial translation examination (the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear inscription of “translation scholar or translation imperial examination” on the tablet head and inscription (Jin Shizu, Beijing Library, 1990: 52、169; 24、146). It’s true of A preliminary collection of inscriptions and stele of calendar subjects in the national Dynasty, in which the title of two Jinshi (the ninth year and twelfth of Shunzhi ) was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not translation Jinshi, but literal Jinshi.  --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:00, 5 November 2021 (UTC)&lt;br /&gt;
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However, when it comes to the collected works related the imperial examinations of translation (namely, the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear indication of “Jinshi (''a successful candidate in the highest imperial examinations'') of translation or imperial examination of translation” on the tablet head and inscription (''Jin Shi of National Library of China'' , 1990: 52、169; 24、146). It’s true of ''The Preliminary Collection of The Inscriptions of Passers Lists in Past Chinese Dynasties'', in which the name of the two Jinshi lists in the ninth year and twelfth of Shunzhi period was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not “Jinshi of translation”, but “Jinshi of liberal arts”.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 04:03, 5 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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由此可知，《雍正会典》和两部《会典事例》将顺治八年看作翻译科之起点确系误记。值得注意的是，《（康熙）大清会典》中，并没有录入“翻译科”的条目，这一点表明编纂者或许已对翻译科有了重新认识。《清实录·世祖章皇帝实录》中说，顺治十四年正月，世祖降旨吏、礼、兵三部，要求“今后限年定额考取生童，乡会两试，俱着停止，各部院衙门取用人员不必分别满汉文学”，但此处诏令停办的乡、会试同样只是八旗科举文试，而不是翻译考试。&lt;br /&gt;
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From this, it can be seen that ''Record of Laws and System of Yongzheng Dynasty'' and the two ''Authorized Record of Laws and System of Qing Dynasty''  actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the &amp;quot;''Record of Laws and System of Kangxi Dynasty''&amp;quot;, there is no entry for a item of &amp;quot;the imperial translation examination&amp;quot;, which indicates that the editor may have a re-understanding of it. According to the &amp;quot;''Qing Record and Record of Shi Zuzhang Emperor and Eight Banners Annals''&amp;quot;, in the first month of the fourteenth year of Shunzhi, Shizu issued an edict to ministries of Administration, Rites, and Military Affairs , demanding that &amp;quot;From now on, there would be limitations on the participant numbers and the years of the imperial examination to admit scholars. The county examination and the metropolitan examination would be also suspended. And it would be not necessary for every ministry to separate Manchu and Chinese literature when hiring officials.&amp;quot; However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)&lt;br /&gt;
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From this, it can be seen that the ''Yongzheng Huidian'' and the two ''Huidian Shili'' actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the ''Da Qing Huidian'' (Kangxi edition), there is no such entry as &amp;quot;the imperial translation examination&amp;quot;, which indicates that the editor may have a re-understanding of it. According to the &amp;quot;Factual Record of Qing Dynasty: Actual Record Of Shizu&amp;quot;, in the first month of the fourteenth year of Shunzhi, Shizu issued an edict demanding that, “from now on, ministries of Administration, Rites, and Military Affairs, admit a limited number of students and only in designated years, suspend the county examination and the metropolitan examination, and stop separating Manchu and Chinese literature when selecting officials.” However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:39, 30 October 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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（鄂尔泰等，1985：831-832）事实上，早在顺治朝以前，也曾有开科取士的情况，如天聪八年太宗皇太极命刚林、恩国泰等十六人“俱赐为举人”，崇德三年、六年又取中两榜举人，但上述三科同样并非翻译科。（铁保等，1968：780-781）毫无疑问，顺治时期的八旗科举和雍正元年初设的翻译科考之间有着渊源关系。&lt;br /&gt;
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（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had been cases of selecting scholars through examinations. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:43, 30 October 2021 (UTC)&lt;br /&gt;
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（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had enlisted talents through the old civil service examination system. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 10:57, 3 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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首先，顺治朝的八旗科举与翻译科考一样，都有为旗人开设专科的倾向，只不过在前者中满洲和蒙古合为一榜，汉军与汉人合为另一榜，而翻译科考则容括了汉军。其次，就考试内容而言，顺治年间的翻译考试只针对识汉字者，翻译并非考试的全部内容，而翻译科考则主要考察应试者的翻译能力，以实现满、蒙、汉等多种语言融通。雍正朝以后，虽然历代统治者对翻译科考进行了这样或那样的调整与改革，但翻译科考的制度雏形却在顺治朝时已然形成。&lt;br /&gt;
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First of all, the eight Banners imperial examination system of Shunzhi Dynasty had the same tendency to set up special subjects for Bannermen as the translation imperial examination system, but in the former, Manchuria and Mongolia were combined into one ranking list, and the Han banner and the Han people were combined into another ranking list, while the translation imperial examination included the Han banner. Secondly, as far as the test content is concerned, the translation imperial examination in Shunzhi period was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of those who took the test, so as to achieve mastery of manchu, Mongolian, Chinese and other languages. After the Yongzheng Dynasty, although successive rulers made some adjustments and reforms, the embryonic form of translation imperial examination system had been formed in the Shunzhi Dynasty. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:58, 30 October 2021 (UTC)&lt;br /&gt;
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First of all, the Eight Banners imperial examination and translation examination in Emperor Shunzhi’s reign tended to be exclusive to the Eight Banners. But in the former, Manchuria and Mongolia were included on one ranking list; the Han armies and the Han people were included on another ranking list, while in the later the Han armies were included. Secondly, in terms of test content, the translation imperial examination in Shunzhi’s reign was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of participants, so as to achieve communication of Manchu, Mongolian, Chinese and other languages. Since the Emperor Yongzheng’s reign, although successive emperors made some adjustments and reforms, the original form of translation imperial examination had been formed in Emperor Shunzhi’s reign. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:41, 3 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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可以认为，顺治朝时期的翻译考试为雍正帝创设翻译科考，以及日后各朝的修订与完善，打下了良好基础。&lt;br /&gt;
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四、《钦定国子监志》对于翻译科缘起的补正&lt;br /&gt;
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与《八旗通志》、《钦定八旗通志》和《国朝历科题名碑录初集》等不同，清代历史文献中，也有将顺治八年、十一年两榜举人与进士称作翻译举人与翻译进士的情况。&lt;br /&gt;
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It is fair to say that the translation examination set up in Emperor Shunzhi’s reign has established a solid foundation for Emperor Yongzheng to include it into the Imperial Examination and for future revisions in the following dynasties.&lt;br /&gt;
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4. ''The Imperial Academy Journal Dedicated to the Emperor''——supplement to the Translation Examination in the Imperial Examination&lt;br /&gt;
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Different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions'', some historical documents refer the Jin shi and Juren in 8th and 11th year of Emperor Shunzhi’s reign as Jinshi in translation and Juren in translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:42, 3 November 2021 (UTC)&lt;br /&gt;
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It can be considered that the translation examination in the Shunzhi period laid a good foundation for the establishment of the translation examination by Emperor Yongzheng, as well as the revision and improvement of the dynasties in the future.&lt;br /&gt;
Ⅳ. Regarding the supplements and corrections of the origin of the translation department, &amp;quot;Imperial College Annal&amp;quot;  was different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions''. In the historical documents of the Qing Dynasty, there were cases in which provincial graduates and metropolitan graduates during the eighth year of Shunzhi and the eleventh year of Shunzhi were referred to as provincial graduates of translation and metropolitan graduates of translation.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:43, 5 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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例如，在沈廷芳辑注的《馆选录》和朱汝珍辑注的《词林辑略》中，顺治年间识汉字且通过考试翻译中式举人和进士者，往往被称为翻译举人、翻译进士。如满洲正白旗人达哈塔于顺治九年壬辰科中进士，被称为翻译进士，并分派至内院学习，正白旗人玛尔汉，则被称作“顺治甲午翻译举人”。（邹长清，2011：357）然而，据前文关于顺治年间八旗科举考试的分析可知，这样的称呼与事实不符。&lt;br /&gt;
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For example, in Shen Tingfang's ''Collections of Officials' Candidates'' and Zhu Ruzhen's ''Abstracts of Officials’ Names of Literati House'', in the Shunzhi period, those people, who knew Chinese characters and passed the test translation to be provincial graduates and metropolitan graduates, were usually called provincial graduates of translation and metropolitan graduates of translation. For instance, Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of Shunzhi, called a metropolitan graduate of translation and  assigned to study at adytum. Malhan, the White Banner people, was called “the Shunzhi Jiawu provincial graduate of translation&amp;quot; (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:36, 5 November 2021 (UTC)&lt;br /&gt;
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For example, during the reign of Emperor Shunzhi the Chinese learners who passed the translation examination and become provincal graduates or metropolitan graduates were called provincial graduates of translation and metropolitan graduates of translation according to the edition and annotation of Shen Tingfang's Collections of Officials and Zhu Ruzhen's Abstracts of Officials. So Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of the reign of Shunzhi. He was regarded as metropolitan graduate of translation and appointed to work at adytum. And Malhan,a White Banner, was viewed as &amp;quot;provincial graduate of translation in Shunzhi Jiawu period&amp;quot; (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 00:46, 6 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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顺治年间的八旗士子，无论习清语，还是习汉语，都是一体考试。只不过，对于识汉字者而言，考试中增加了翻译的环节（内容），但考试本身仍归属文科举范畴。然而，由于编纂者的误解或误记，致使讹错流传。&lt;br /&gt;
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During the reign of Emperor Shunzhi, students from the eight banners  took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal studies. Unfortunately, with the misunderstanding or negligence of the editors it was mistakenly recorded and spread to the descendants.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 29 October 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Shunzhi, all the candidates from the eight banners took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal arts. Unfortunately, with the misunderstanding and misdescription of the editors, it was mistakenly recorded and passed on to the descendants.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:52, 1 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
如《国子监志》卷四八《金石三》中，便将顺治九年、十二年两科及第者俱称“翻译进士”：九年壬辰科，赐邹忠倚等三百九十七名及第出身题名碑，又赐翻译进士麻勒吉等五十名及第出身题名碑。以上五碑在大成门外之东南向。&lt;br /&gt;
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In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called &amp;quot;Translation Scholars&amp;quot; in the 9th year and 12the year during the reign of  emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 1 November 2021 (UTC)&lt;br /&gt;
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In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called &amp;quot;Translation Scholars&amp;quot; in the 9th year and 12th year during the reign of Emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 09:28, 7 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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十二年乙未科，赐史大成等三百九十七名及第出身题名碑，又赐翻译进士图尔宸等五十名及第出身题名碑。以上五碑在大成门外之东南向。（梁国治，1986：527）《国子监志》由乾隆十三年进士梁国治奉敕纂辑，全书共六十二卷，分圣谕和御制诗文等，后者依类分载于各“志”。In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei],  397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given a great honor that their name will appear in the monument which only the names of Jinshi can be engraved. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various &amp;quot;records&amp;quot; according to categories.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 07:52, 29 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei],  397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given the birth inscription Jinshi monument by the emperor. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various &amp;quot;records&amp;quot; according to categories. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's articles and poems. The latter is contained in various &amp;quot;records&amp;quot; according to categories.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:46, 2 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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按照上述记载，麻勒吉、图尔宸等都被称作翻译进士，由皇帝赐及第出身题名碑。顺治九年，朝廷决定以满、汉分科的形式开科取士，麻勒吉于同年壬辰科考取会试第一，殿试一甲第一，一甲其余二人为折库纳与巴海，俱赐进士及第出身。然而，尽管麻勒吉后来授封教习庶吉士，但其本人并非翻译进士，这一点从《题名碑录》、《进士题名碑录》以及《八旗通志》等文献中均可得到应证。&lt;br /&gt;
According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as Block-printed copy of the inscribing on the stone,Block-printed copy of the inscribing of Jinshi on the stone, General Annals of Eight Banners.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:52, 28 October 2021 (UTC)&lt;br /&gt;
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According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as ''Block-printed copy of the inscribing on the stone'',''Block-printed copy of the inscribing of Jinshi on the stone'', ''General Annals of Eight Banners''.&lt;br /&gt;
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==邝''Italic text''艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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《国子监志》于乾隆四十三年奉敕纂辑，并被收入《四库全书》之后，又于道光年间经监臣李宗昉等奏请，开馆增辑刊印。道光十四年，文庆、李宗昉等完成增辑，共八十二卷，取名《钦定国子监志》。然而，与梁国治版《国子监志》不同，《钦定国子监志》中，并没有将麻勒吉和图尔宸等人称作翻译进士，这一点也许是文庆、李宗昉等编纂者基于历史事实而做出的修正&lt;br /&gt;
''The Record of the Imperial Academy'' was edited in the 43th year of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year of Daoguang, the edition of ''The Record of the Imperial Academy'' was finished by Wenqing and Li Zongfang, which had 82 chapters in all and was named ''The Record of Imperial Academy Made by Imperial Order''. However, what was different from ''The Record of the Imperial Academy'' by Laing Guozhi is that Ma Leji and Tu Erchen and others were not called Tien Si of Translation in ''The Record of the Imperial Academy Made By Imperial Order'', which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 00:52, 3 November 2021 (UTC)&lt;br /&gt;
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The Record of the Imperial Academy was edited in the 43th year during the period of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the Reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year during the period of Daoguang, the edition of The Record of the Imperial Academy, which had 82 chapters in all and was named The Record of Imperial Academy Made by Imperial Order, was finished by Wenqing and Li Zongfang. However, what was different from The Record of the Imperial Academy by Laing Guozhi is that Ma Leji and Turchen and others were not called Tien Si of Translation in The Record of the Imperial Academy Made By Imperial Order, which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:24, 3 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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与此同时，该书在乾隆四年翻译进士题名碑之后，也增加“按语”如下，可作为考证麻勒吉、图尔宸等人翻译进士身份的重要线索：翻译乡会试，自雍正元年，定于子、午、卯、酉年二月乡试，辰、戌、丑、未年八月会试。嗣后或举或停，或止准乡试而停会试。&lt;br /&gt;
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At the same time, after the translation of the inscription of scholars monument in the fourth year during the period of Qianlong, the book also was added following &amp;quot;notes&amp;quot;, which can be used as an important clue to verify the identity of translation scholars such as Ma Leji and Turchen: since the first year during the period of Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination of translation has been held scheduled in August of Chen, Xu, Chou and Wei year. Hereafter, the examination was either held or cancered, or the provincial examination held and metropolitan examination cancered.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:15, 3 November 2021 (UTC)&lt;br /&gt;
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At the same time, after the inscription of scholars was translated in the fourth year of the reign Emperor Qianlong, and notes were added to the book, which could be used as important textual researches to identify translation scholars such as Maleji and Tuerchen: since the first year during the reign of Emperor Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination has been held scheduled in August of Chen, Xu, Chou and Wei year. After then, the examination was held or canceled from time to time. Sometimes the provincial examination was held, but metropolitan examination was canceled.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:49, 3 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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至乾隆四年八月，复举行会试。题名之有碑刻，自是科始。二十二年，仍议停止会试。&lt;br /&gt;
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By August in the fourth year of the reign of Emperor Qianlong, the provincial examination had been held. Since the beginning of imperial examination, names of successful candidates would be inscribed. However, in the twenty-second year, the court still decided to stop it after discussion.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 10:21, 29 October 2021 (UTC)&lt;br /&gt;
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By August in the fourth year of Emperor Qianlong's reign, the provincial examination had been resumed. Since the beginning of imperial examination, names of successful candidates would be inscribed on steles. However, in the twenty-second year, once again, the court decided to stop it after discussion.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:37, 6 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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四十四年，照旧举行，并奏准赐进士出身。停其殿试。又奏准停止建立碑记。&lt;br /&gt;
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In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (excellent candidates in the highest imperial examinations). And then the final imperial examination presided over by the emperor was suspended. Later, proposal was approved not to keep inscriptional record.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 02:47, 28 October 2021 (UTC)&lt;br /&gt;
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In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (successful candidates in the highest imperial examinations). But the final imperial examination presided over by the emperor was suspended. The emperor gave orders to stop the construcion of inscriptions.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:46, 3 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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今翻译进士题名，故仅止四碑。详识于此。（文庆、李宗昉等，2000：1106）根上文所载，至少可以明确以下四点：首先，翻译乡会试始于雍正年间。&lt;br /&gt;
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As a result, there were only four steles that record successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Yongzheng.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:35, 3 November 2021 (UTC)&lt;br /&gt;
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As a result, there were only four steles that recorded successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Emperor Yongzheng.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:09, 4 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雍正朝期间，原定举办四科翻译乡试，即四年（午）、七年（酉）、十年（子）、十三年（卯），四科翻译会试，即二年（辰）、五年（未）、八年（戌）、十一年（丑），但其间时停时举，或仅举办翻译乡试而停办翻译会试，并不规律。其次，乾隆四年八年办理乙未科时，回复办理翻译会试，中式者赐进士出身，有碑刻。再次，乾隆二十二年，停办翻译会试，四十四年恢复，中式者仍赐进士出身。&lt;br /&gt;
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During the reign of Yongzheng, the government conducted four subjects of translation provincial examination, including 1726, 1729, 1732, 1735, and four subjects of translation metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was not order. Next, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:37, 31 October 2021 (UTC)&lt;br /&gt;
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During the reign of Yongzheng, the government conducted four  translation subjects as provincial examination, including 1726, 1729, 1732, 1735, and four  translation subjects as metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was irregular.Besides, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:06, 1 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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最后，翻译殿试一直处于停办状态。因而，翻译进士题名碑仅有四科，分别是乾隆四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科。如果《钦定国子监志》中的上述记载属实，则可知《国子监志》中将麻勒吉、图尔宸等称作翻译进士，并由此认定顺治八年即为翻译科之起始年的观点并不可取。&lt;br /&gt;
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Finally, the translation test has been suspended. As a result, there are only four in the history of translation test, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the records in The Imperial Records are true, it can be seen that maleji and Tulchen were called talents of translation in the Imperial Records, and the views in the eighth year of Shunzhi( the beginning year of translation )is not desirable.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:02, 1 November 2021 (UTC)&lt;br /&gt;
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Finally, the translation temple has been suspended. As a result, there are only four branches on the translated Jinshi inscription tablets, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the above records in The Imperial Imperial Records are true, it can be seen that maleji and Tulchen were called jinshi of translation in the Imperial Imperial Records, and the view that the eighth year of Shunzhi was the beginning year of translation is not desirable.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:21, 3 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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事实上，《国子监志》不仅误记了顺治九年、十二年两榜进士（满洲、蒙古）题名碑，而且在乾隆年间的两科翻译进士题名碑问题上，也发生了讹错与遗漏。具体而言便是，《国子监志》中仅记载了两碑乾隆年间的翻译进士，分别是乾隆十三年的戊辰科和十六年的辛未科，颁赐对象分别是武进、武立等四十二人。至于乾隆四年己未科和十年乙丑科，其中未见有记录，此事令《国子监志》的可信度受损。（梁国治，1986：530）&lt;br /&gt;
As a matter of fact, in the Annals of the Imperial College, there are not only errors in the inscription tablets of the ninth and twelfth year of Shunzhi, but also errors and omissions in the translation of the inscription tablets of the jinshi in the qianlong period. Specifically, in the Annals of imperial College, there are only two steles of translated Jinshi during the Reign of Emperor Qianlong, namely wuchenke in the thirteenth year of Emperor Qianlong and Xinweike in the sixteenth year of Emperor Qianlong, which were awarded to 42 people, including Wu Jin and Wu Li. As for the jiwei section in the fourth year and yichou Section in the tenth year of the Reign of Emperor Qianlong, there were no records, which damaged the credibility of the Annals of the Imperial Academy. (Liang Guozhi, 1986:530)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:19, 3 November 2021 (UTC)&lt;br /&gt;
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In fact, in the ''Annals of the Imperial College'',it misremembered two-listed inscribed (Manchuria, Mongolia) scholars in Shunji nine years and twelve years , but also in Qianlong years, it had also mistakes and omissions in the two sections of translation scholars inscription tablet problem. Specifically, the ''Annals of the Imperial College'' only records the two monuments Qianlong years of translation, respectively, Qianlong 13 years of Thechenke and 16 years of Xin Weike, awarded to the object of Wujin, Wu Li and other forty-two people. As for Qianlong's four-year absence and ten-year B-Ugly Section, which has not been recorded, the credibility of the ''Annals of the Imperial College'' has been undermined. (Liang Guozhi, 1986:530)--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:46, 3 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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结语：翻译科的创设始于雍正年间，而非顺治年间，这一点毋庸置疑。顺治时期，八旗科举考试中虽然已有了翻译考试的内容，但此时的翻译考试并非独立建制，而是隶属于八旗文科举，为后者考试中的一个环节，或者说为其考试内容的一个部分。&lt;br /&gt;
Conclusion: There is no doubt that the establishment of translation department began  in the Qing Yongzheng, not in the Qing Shunzhi. During the Shunzhi period, there was a content of translation examination in the eight Banners imperial examination, but the translation examination was not an independent institution, but a part of the eight banners liberal arts examination, or a part of the examination content.&lt;br /&gt;
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Conclusion: There is no doubt that the establishment of translation subject began in the reign of  Yongzheng rather than Shunzhi. During the Shunzhi period, although there was translation exercises in examination in the eight Banners imperial examination, it was not an independent subject but a part of the eight banners liberal arts examination, or a part of the examination content.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:32, 30 October 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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雍正年间，世宗为了整饬八旗“废弛陋习”，奖励清语学习，因而创制翻译科，将其视作方法与工具，鼓舞八旗满洲与蒙古奋勉向学，以图进取。翻译科的创设带有明确、强烈的政治、文化意涵，是为了维护“国语骑射”的满洲根本，以及满族文化特征。这么做，一方面是为了维护满洲祖制，避免满族固有文化被汉族同化；另一方面则是想通过传承自身文化，实现全国政权的长远统治。&lt;br /&gt;
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During the reign of Emperor Yongzheng, emperor Shizong established the subject of Translation as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese and make progress with the hope to rectify the &amp;quot;bad habits&amp;quot; of the eight banners and reward Chinese learning. The establishment of the Translation subject has clear and strong political and cultural implications, that is, to maintain the manchu roots of &amp;quot;mandarin horsemanship&amp;quot; and the characteristics of Manchu culture. This act, on the one hand, is to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aims to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:09, 30 October 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Yongzheng, the Emperor established the subject of translation in order to rectify outmoded conventions and reward Chinese learning. It was regarded as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese in an effort to  forge ahead. The establishment of the translation  subject had clear and strong political and cultural implications, that is, to maintain the manchu roots of &amp;quot;National language and ride&amp;quot; and the characteristics of Manchu culture. On the one hand, this practice was to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aimed to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:28, 3 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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毫无疑问，作为清代八旗科举制度的重要成分，翻译科的创设自有其积极意义，它不仅使旗人获得了进身机会，缓解了八旗生计的困难，而且也为朝廷遴选了大量翻译专才，促进了国家治理。然而，翻译科自身也有缺陷与不足，这一点主要体现在“首崇满洲”的基本原则上，它是维护满洲特权与旗人利益的集中体现，对于我们研究清代的政治、文化发展与变化，以及有清一代的民族关系与民族政策等，都具有重要的学术价值与社会意义。&lt;br /&gt;
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There was no doubt that as an important component of the imperial examination system of the Eight Banners in Qing Dynasty, the establishment of the translation department had its own positive significance. It not only provided opportunities for the people of the Eight Banners and alleviated the difficulties of making a living, but also selected a large number of translation professionals for the imperial court and promoted national governance. However, the translation department also had its own defects and deficiencies, which was mainly reflected in the basic principle of &amp;quot;first advocating Manchuria&amp;quot;. It was a concentrated embodiment of safeguarding Manchuria's privileges and Eight Banners people's interests. It had important academic value and social significance for us to study the political and cultural development and changes of Qing Dynasty, as well as the ethnic relations and ethnic policies of Qing Dynasty.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:52, 30 October 2021 (UTC)&lt;br /&gt;
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There is no doubt that as an important component of the imperial examination system of the Eight Banners in the Qing Dynasty, the creation of the translation subject has its own positive significance. It not only provided promotion opportunities for the people of the Eight banners and alleviated the difficulty of making a living, but also selected a large number of translation professionals for the imperial court and promoted national managemant. However, the translation subject also has its own defects and deficiencies, which is mainly reflected in the basic principle of “first advocate Manchuria”. It is a concentrated embodiment of safeguarding Manchuria's privileges and the Eight Banners people's interests.Which has important academic value and social significance for us to study the political and cultural development and changes of the Qing Dynasty, as well as the ethnic relations and ethnic policies of the Qing Dynasty.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:11, 30 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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《金瓶梅》满文翻译考释&lt;br /&gt;
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摘要：淫词小说的禁毁系清代长期的文化政策。然而，社会历史阶段不同，政府对该政策的推进与执行也不尽同。&lt;br /&gt;
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A textual criticism research on the Manchu translation of ''The Golden Lotus''&lt;br /&gt;
Abstract: The prohibition and damage of pornographic novels was due to the long-term cultural policies of the Qing Dynasty. However, on account of different social and historical periods, the government's promotion and implementation of this policy are also different.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 02:59, 30 October 2021 (UTC)Liu Wei&lt;br /&gt;
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A Textual Criticism Research on the Manchu Translation of ''The Golden Lotus''&lt;br /&gt;
Abstract: Banning and destroying pornographic novels was a long-term cultural policy in the Qing Dynasty. However, the government's promotion and implementation of this policy were quite different in different social and historical periods.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:49, 30 October 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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清初，统治者的政策重心在于武力征伐与国家统一，文禁的重点在于政治倾向显著的作品。因而，为了笼络人心，政府对汉族小说及其翻译的偏见并不显著，对《金瓶梅》等淫词类小说的禁毁与惩处也影响较小。康熙中期以后，政府强化了思想控制，加强了小说翻译与小说创作的管制，《金瓶梅》的审查亦在其中。&lt;br /&gt;
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In the early Qing Dynasty, the policies enacted by the emperor focused on military expeditions and national unification,  that of literary persecution focusing on works with prominent political tendencies. Therefore, in order to win people's support, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. After the middle period of emperor Kangxi's reign, the government strengthened the control of thought, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:17, 28 October 2021 (UTC)&lt;br /&gt;
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In the early Qing Dynasty, the rulers' policy focused on military expedition and national unity, and the cultural prohibition focused on works with significant political tendency. Therefore, in order to win the hearts of the people, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. . After the middle period of Kangxi, the government strengthened the ideological control, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:42, 30 October 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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《金瓶梅》的翻译有别于“四书”、“五经”，它既不能塑造道德，又不能规范秩序，其翻译与刊刻遭到限制在所难免。然而，《金瓶梅》译本最终得以成书，与统治者的支持或默认不无关联。&lt;br /&gt;
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关键词：《金瓶梅》；满文翻译；和素；文化政策；审查&lt;br /&gt;
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The translation of Golden Lotus is different from the &amp;quot;Four Books&amp;quot; and &amp;quot;Five Classics&amp;quot;. It can neither shape morality nor regulate order. It is inevitable that its translation and publication will be restricted. However, it is related to the support or acquiescence of the rulers that the translation of Golden Lotus was finally completed.  &lt;br /&gt;
Key words: Golden Lotus; Manchu translation; He Su; Cultural policy; examination--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:35, 30 October 2021 (UTC)&lt;br /&gt;
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The translation of Golden Lotus was different from The Four Books and Five Classics. It could neither contribute in instilling morals nor keeping order, and thus the restriction on its translation and publication were inevitable. However, the completion of the translation of Golden Lotus is related to the support or acquiescence of the rulers. &lt;br /&gt;
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Keywords: Golden Lotus; Manchu translation; He Su; cultural policy; censorship--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:40, 7 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。&lt;br /&gt;
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In the official documents, the exact term “cultural policy” did not appear, instead, the terms of “culture and education” and “moral teaching” were used. This finding did not mean that the cultural development of Qing dynasty lacked of established policy ideas or code of conduct. On the contrary, since the tenth year of the reign of Shunzhi, the cultural policy of “advocating Confucianism and adhering to Confucian doctrine” which incorporated the traditional Chinese cultural concepts into political practices has been established by Qing government. Later on, the ruling principle of “promoting the development of culture and education” and “advocating Confucianism” gradually came into being under the administrations of the following emperors. For instance, The Sixteen Rules by the Emperor issued in the ninth year of Kangxi's reign and The Siku Quanshu edited in Qianlong's age were all important practices of “advocating Confucianism and adhering to Confucian doctrine”.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 05:07, 2 November 2021 (UTC)&lt;br /&gt;
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The words &amp;quot;cultural policy&amp;quot; did not explicitly appear in official documents of the Qing dynasty, but were replaced by concepts such as &amp;quot;culture and education' and 'moral teaching&amp;quot;. This does not mean that there was a lack of established policy concepts and codes of conduct in cultural construction. On the contrary, since the tenth year of the reign of Shunzhi, the Qing court formulated a cultural policy of &amp;quot;advocating Confucianism and adhering to Confucian doctrine&amp;quot;, incorporating traditional Chinese cultural concepts into political practice, and gradually forming the policy of 'promoting culture and education' and 'revering scripture and art' in subsequent dynasties. For instance, in the ninth year of the Kangxi reign，&amp;quot;The Sixteen Rules by the Emperor“ and the compilation of the ''Siku Quanshu'' during the Qianlong reign were all important practice of &amp;quot;advocating Confucianism and adhering to Confucian doctrine&amp;quot;. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:45, 5 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。清代的汉籍（书）翻译系清代政治、文化事业的重要组成部分。&lt;br /&gt;
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In the realm of cultural policy, the principle of “Reverence to Confucianism” had its derivatives, for instance, the imperial examination and the Boxue hongci section. The collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation of Han books in the Qing dynasty dealt with both Confucian texts, such as ''the Four Books'' and ''the Five Classics'', and popular works, such as ''The Golden Lotus'' and ''The Western Chamber''. Thus the translation of Han books was an important part of the political and cultural undertakings of the Qing dynasty. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:47, 5 November 2021 (UTC)&lt;br /&gt;
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In the field of cultural policies，there are some things derived from the principle of “Reverence to Confucianism”，like imperial examination ， the Boxue hongci section and so on，while the collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation  of Han books in the Qing dynasty not only include the Confucian texts，such as ''the Four Books'' and ''the Five Classics''，but also involve those secular works such as 'The Golden Lotus'' and ''The Western Chamber'' and so on.The translation of the Han books in Qing dynasty is an important part to consist the political and cultural undertakings of Qing dynasty.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 09:08, 10 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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从背景上看，汉籍（书）的翻译一方面得益于统治者反复提倡“国语骑射”的基本国策，以维护满洲根本于不坠，另一方面则得益于文化整合的需要，即，统治者通过翻译学习汉族文化，汲取汉人的治国理政经验，建构政权稳定和国家长治久安所需的“治统”与“道统”。通过引导与规范汉籍（书）的翻译，统治者不仅使满、汉文化互通有无，阐明法度，维护正统，端正满洲的人心风俗，而且以译书作为临政规范，撷取帝王为政之道，完善国家治理理念与模式。&lt;br /&gt;
From the perspective of its background，the translation of the books of Han dynasty，from the one hand，was benefited from the basic recurrent national policy of “National language and ride” to prevent Manchu from falling，from the other hand，it was benefited from the necessity of culture unification，that is to say，the ruler learns Han’s culture，absorbs Han’s ruling experience and build the “ruling rule” and “moral rule” in need for the stabilization of the policy and safety from translation.Through leading and controlling the translation of Han books，the ruler not only connects Man and Han ’s culture，protects the royalty，corrects the customs of Man，but also perfects the national ruling modes by learning the ruling methods of the ruler under the control of translation.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:22, 9 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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藉由汉籍（书）的翻译，统治者既能成功了解汉族文化，又能以思想为治术，建构政权的合法性，实现满洲政权向中原政权的历史转化，并在接触和学习汉文化中获得“统制”汉民的重要经验，实现“治统”与“道统”的和谐统一，最大限度地保障统治集团的既得利益。一、《金瓶梅》的创作题材与历史地位。中国古典小说中，有“四大奇书”之称。&lt;br /&gt;
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Through translating the classical books from Han people, the ruler of Qing government could not only understand their culture successfully, but also validate the legitimacy of Manchu regime via the thoughts of governance arts in order to realize the historical transformation from Manchu regime into the Central Plains regimes, gain important experience to &amp;quot;rule&amp;quot; Han people in the process of contacting and learning from their culture, achieve the harmonious uniformity between &amp;quot;Zhi Tong&amp;quot; (rule the country by traced to the same origin) and &amp;quot;Dao Tong&amp;quot; (rule the country by Confucianism) as well as safeguard the vested interest in Manchu ruling clique to the greatest extent. 1. the creative theme and historical status of ''The Golden Lotus''. In Chinese classical novels, it was known as &amp;quot;the Four Marvelous Books&amp;quot;.&lt;br /&gt;
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Through the translation of the classical books in Han (the Central Plains) language, the rulers in Qing Dynasty could not only gain deep insight into their culture, but also validate the legitimacy of the Manchu regime via taking advantage of thoughts to govern the country, so as to realize the historical transition from Manchu regime to the Central Plains regime, to obtain important experience of &amp;quot;ruling&amp;quot; Han (Central Plains) people, to achieve the harmonious unity of &amp;quot;Zhi Tong&amp;quot; (to rule the country by tough measures) and &amp;quot;Dao Tong&amp;quot; (to govern the country by ethics and Confucianism), as well as to proetct the vested interest of ruling regime to the highest degree. 1. The Creative Themes and Historical Status of ''The Golden Lotus''. In Chinese classical novels, there are the so-called &amp;quot;Four Marvelous Books&amp;quot;.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 14:59, 2 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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所谓“四大奇书”，按照李渔、周永保等人的说法，是指《金瓶梅》、《三国演义》、《水浒传》、《西游记》等四部明代小说作品，这些作品皆成书于明代年间，代表的是中国古典小说的四种不同形态，即历史类、传奇类、神魔类，以及世情类。作为“四大奇书”之首，《金瓶梅》究竟成书于何时，学界尚有不同说法。有人认为是明代嘉靖年间，如屠本畯的《山林经济籍》，也有人认为是万历年间，如郑振铎的《谈金瓶梅词话》、车锡伦的《&amp;lt;金瓶梅词话&amp;gt;中的宣卷》，以及黄霖的《&amp;lt;金瓶梅&amp;gt;漫话》等。&lt;br /&gt;
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According to scholars like Li Yu and Zhou Yongbao, the so-called &amp;quot;Four Marvelous Books&amp;quot; refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represent the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the &amp;quot;Four Marvelous Books&amp;quot;. Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:58, 31 October 2021 (UTC)&lt;br /&gt;
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According to scholars like Li Yu and Zhou Yongbao, the so-called &amp;quot;Four Marvelous Books&amp;quot; refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represented the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the &amp;quot;Four Marvelous Books&amp;quot;. Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:50, 2 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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无论是何种观点，都不可否认《金瓶梅》在中国古典小说中的历史地位。《金瓶梅》无疑是中国古典小说发展史上的经典之作，不仅在创作题材上突破了传统模式，将叙述的焦点从豪杰和妖魔转移至市井人物，人物塑造上也出现了从单色调向多色调、平面化向立体化的转变。同时，创作主旨上也有重要突破，即不再专注于歌颂理想，而是通过写尽世情之恶、生活之丑，暴露社会的黑暗与不公，现实主义特征极其明显。&lt;br /&gt;
Whatever the viewpoint, there is no denying the historical status of The Golden Lotus in classical Chinese fiction. The Golden Lotus is undoubtedly a classic in the history of classical Chinese fiction, not only in terms of its subject matter, which broke away from the traditional model, shifting the focus of the narrative from the heroes and demons to the characters in the marketplace, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough in the creative theme, that is, it no longer focuses on glorifying ideals, but exposes the darkness and injustice of society by writing about the evils of the world and the ugliness of life, and the characteristics of realism are extremely obvious.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:46, 2 November 2021 (UTC)&lt;br /&gt;
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From every viewpoint, in classical Chinese fictions, the historical status of The Golden Lotus is apodeictic, not only in terms of its subject matter, which broke the traditional model, shifting the focus of the narrative from the heroes and demons to the common people, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough on the theme, namely, that it no longer focused on glorifying ideals, but exposed the darkness and injustice of society by writing about the evils of the world and the ugliness of life, through which the characteristics of realism are extremely obvious. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:32, 3 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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刘廷玑认为，《金瓶梅》之所以称为奇书，是因为它深切人情要务。鲁迅在对“世情小说”进行界定时，曾指出《金瓶梅》描摹世态，见其炎凉，骂尽诸色，它虽然描写情色，却是要“以淫说法”，虽然结构铺张，但却是“引迷入悟”，既然是描写世情，便要“尽其情伪”，所谓刻露而尽相，或幽伏或含讥，诚极洞达而已。《金瓶梅》所描写的虽然是市井常谈、闺房碎语，但它寄意于时俗，极富感染力。&lt;br /&gt;
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Liu Tingji believes that the reason The Golden Lotus is called a fantastic book is that it is deeply mundane. When Lu Xun defined the “worldly novel”, he pointed out that The Golden Lotus described worldly affairs, manifesting elusiveness of people and cursing all kinds of ugliness. Although it described eroticism, it was meant to “speak out as lewdness”. Although the structure is extravagant, it is “leading confusion into realization”. Since it is a description of the worldly affairs, it must be “full of sentiment and hypocrisy”. It is said that boldness results in completeness, which is sincere and insightful whether in a humorous or sarcastic way. Although The Golden Lotus is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 12:54, 30 October 2021 (UTC)&lt;br /&gt;
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Liu Tingji believes that the reason ''The Golden Lotus'' is called a fantastic book is its profound insight into the human condition. When Lu Xun defined the “secular novel”, he pointed out that ''The Golden Lotus'' described secular affairs, with a revelation of the indifference of people and an accusation of the eroticism. Although it describes erotic scenes, it is meant to “making sense with lust”. Although the structure is extravagant, it “leads confusion into realization”. Since descriptions in the book relate to secular affairs, they must be “full of sentiment and hypocrisy”, which means uncovering the essence and revealing its full complexity, with either insinuation or innuendo, just for achieving a precise communication of insights. Even though ''The Golden Lotus'' is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 16:14, 2 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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明、清之际，虽然《金瓶梅》向被列为禁书，但时人对其的艺术手法和思想内容等，却评价甚高，甚至不乏将其与《左传》、《史记》、《汉书》等并列者，认为这些作品都是“以其文皆为写生者也”的杰出代表。明代博物学家谢肇淛（zhè）曾向人借抄《金瓶梅》，并为此书撰写序跋，其中详细论及此书所具有的广泛的揭示性，认为它描写的是一个丑陋、黑暗的世情社会，既有“市里之猥谈”，又有“狎客之从臾逢迎”，所谓“穷极境象，駴（hài）意快心。”无论如何，都不能将《金瓶梅》视作“秽书”，而枉顾其对于炎凉情态的纤毫毕现，既看不到它的一腔愤懑，又看不到它的刺世与劝戒之意。&lt;br /&gt;
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During the Ming and Qing dynasties, although ''the Golden Lotus'' was always banned, its artistic approach and ideological content were highly regarded by the people of the time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of &amp;quot;those whose texts are all written for the purpose of writing life&amp;quot;. Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Golden Lotus'' from others and copied it. He wrote a preface to the book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both &amp;quot;the obscene words of marketplace villains&amp;quot; and &amp;quot;the flattery of treacherous people&amp;quot;. It is a 'straightforward and unadorned account of all life'. In any case, ''the Golden Lotus'' should not be regarded as an 'obscene book', and its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 02:46, 30 October 2021 (UTC)&lt;br /&gt;
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During the Ming and Qing dynasties, although ''The Plum in the Golden Vase'' was always banned, its artistic approaches and ideological contents were highly regarded by the people of that time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of &amp;quot;those whose texts were all written for the purpose of writer’s life&amp;quot;. Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Plum in the Golden Vase'' from others and transcribed it. He also wrote a preface for this book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both &amp;quot;the obscene words of marketplace villains&amp;quot; and &amp;quot;the flattery of treacherous people&amp;quot;. It was a 'straightforward and unadorned account of all life'. In any case, ''The Plum in the Golden Vase'' should not be viewed  as an 'obscene book', its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:56, 30 October 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==&lt;br /&gt;
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有人说，《金瓶梅》是《红楼梦》之祖，其题材主旨、人物刻画、情节结构等均为后者所继承，它虽然以家庭为中心，却又与天下、国家紧密相连，虽然恣意描写原始欲望，却又同时拷问人性的本质，其作为白话世情小说之首，可谓实至名归。一代伟人毛泽东也说，《金瓶梅》是《红楼梦》的祖宗，没有前者，就写不出后者，充分肯定了《金瓶梅》在中国古典文学中的历史地位。《金瓶梅》具有劝戒意涵，而不是或者不仅仅是淫词小说，这一点对于清代文士而言，亦是人所共知之事。&lt;br /&gt;
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It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'', because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although ''The Plum in the Golden Vase'' was  centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of the nature of human beings which lived up to its name. Mao Zedong, a great man of a generation, also said, “''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' ,not or not just a pornographic novel, was replete with exhortation meaning which was known by all common people from the perspective of literati of Qing dynasty.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:12, 28 October 2021 (UTC)&lt;br /&gt;
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It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'',  because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although  ''The Plum in the Golden Vase'' was centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of human nature which lived up to its name. Mao Zedong, a great man of a generation, also said, “  ''The Plum in the Golden Vase'' is the ancestor of  ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' full of persuation meaning was not or not just a pornographic novelwas which was known by all the literati of Qing dynasty.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:55, 30 October 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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如欣欣子在《金瓶梅词话序》中所说，《金瓶梅》一书不同于《三国演义》，它不是从正面塑造人物形象，使其合乎传统人伦道德，实现教化目的，而是通过对酒色财气的重墨渲染，警戒世人远离情色，其目的同样在于“明人伦，戒淫奔，分淑慝（tè），化善恶”，这一点与《三国演义》殊途而同归。而在《金瓶梅·序》中，作者亦明确指出该书的“劝戒”之意，所谓“一回一戒”，因而“百回中以为百劝”。&lt;br /&gt;
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As Xin Xinzi said in the series of notes and comments of  ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it was not from the positive view to shape the character image, so that it would conform to the traditional ethics and morality, and then achieved the goal of indoctrination. But through the heavy playing up of wine , women , avarice and pride to warn human beings away from eroticism, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as  ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:51, 30 October 2021 (UTC)&lt;br /&gt;
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As Xin Xinzi mentioned in the series of notes and comments of  ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it did not shape the character image from the positive view, so that it would conform to the traditional ethics and morality, and then achieve the goal of indoctrination, but warn human beings away from eroticism through the heavy playing up of wine , women , avarice and pride, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as  ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:12, 30 October 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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清人中，对于《金瓶梅》进行诋毁、谩骂者，亦有之。如蒲松龄称其为“淫史”，邹弢称其为“淫书”，邱炜萲（xuān）则认为其“淫媟（xiè）荡志”，无论在内容上，还是在文笔上，都不足以“负此重名”。《蕉轩随录》中，方浚师甚至将《金瓶梅》和《水浒传》看作无用之书，认为二者之中一个倡盗，一个诲淫，有害于世道人心。&lt;br /&gt;
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In the Qing Dynasty, there were also people who slandered and criticized ''Gold Vase Plum''. For instance, Pu Songling regarded it as a ''History of obscenity'', Zou Tao thought it a pornographic book, and Qiu Weixuan held that it is full of debauchery which indicate that it is not worth bearing such a great reputation no matter in content or style of writing. In ''Records of Jiaoxuan'', Fang Junshi even regarded ''Gold Vase Plum'' and ''Water Margin''as useless books, and the former is story of furious robbers while the latter is a story inciting pornography, so both of them would do harm to the people in the world.&lt;br /&gt;
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In the Qing Dynasty, there were also people who slandered and criticized “Gold Vase Plum”. For instance, Pu Songling regarded it as “History of Obscenity “, Zou Tao thought it a pornographic book, and Qiu Weixuan held that it was full of debauchery. “Gold Vase Plum” was not worthy of bearing such a great stigma either in content or in style. In “Records of Jiao Xuan”, Fang Junshi even regarded “Gold Vase Plum” and “Water Margin” as useless books, one of which was about stories of advocating the theft while the other of which was related to plots  inciting pornography, so both of them would do harm for enlightening the people in the world. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:47, 28 October 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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而晴川居士、申涵光、李绿园等亦持论相似，认为《金瓶梅》丧心败德，它对于幼学者的影响如同疫病，其害甚大。沈德符、徐谦、林昌彝等更是主张禁毁此书，认为此书有如毒草和毒酒，贻害无穷。清初以来，朝廷对于淫词小说的禁毁从未间断。&lt;br /&gt;
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And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held similar viewpoints, believing that “Gold Vase Plum”, infecting people’s pure soul and moral integrity, played an ill impact on young scholars. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 08:08, 28 October 2021 (UTC)&lt;br /&gt;
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And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held the similar viewpoints that ''Gold Vase Plum'' infected people’s pure soul and moral integrity and played an ill impact on young scholars,which is very harmful. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 2 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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仅顺治至嘉庆年间，禁毁次数便超过十次，其中顺治朝一次（顺治九年）、康熙朝六次（康熙二年、二十六年、四十年、四十八年两次、五十三年）、雍正朝一次（雍正二年）、乾隆朝一次（乾隆三年），以及嘉庆朝二次（嘉庆十五年、十八年）等。康熙年间，清廷关于淫词小说的禁毁极其严格，既有法令可依，又有专门管理，惩处明确。如康熙二年议准，规定嗣后若有翻刻琐语淫词，有伤风化者，由科道、督抚查明实情，交部议处。&lt;br /&gt;
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The obsecene novels had been destroyed for more than ten times just from the Shunzhi Dynasty to the Jiaqing Dynasty.Among them,there was one time in the Shunzhi Dynasty (the 9th year of Shunzhi) , six times in Kangxi Dynasty (the 2nd, 26th,40th,48th and 53rd year of Kangxi),one time in Yongzheng Dynasty(the 2nd year of Yongzheng),one time in Qianlong Dynasty(the 3rd year of Qianlong) and two times in Jiaqing Dynasty(the 15th,18th year of Jiaqing)，ect.During the Kangxi Dynasty,the goveronment was very strict with the prohibition and destruction of obscene novels,which was based on the decrees and was managed specially,and the published was clear.For example,there was an announcement in the 2nd year of Kangxi,which claimed that if there was someone who translated or carved the gossips and obscene words which was destructive to the morals,it would be examined by the department and governor and be submitted to the ministry.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:43, 2 November 2021 (UTC)&lt;br /&gt;
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The obsecene novels have been destroyed and banned for more than ten times just from Shunzhi to Jiaqing years. Among them, there was one time in Shunzhi Dynasty(the 9th year) , six times in Kangxi Dynasty (one time in the 2nd, 26th, 40th and 53rd year, two times in the 48th year), one time in Yongzheng Dynasty(the 2nd year), one time in Qianlong Dynasty(the 3rd year) and two times in Jiaqing Dynasty(the 15th,18th year), etc. During the reign of Kangxi, the goveronment was very strict with the prohibition and destruction of obscene novels, with both laws to follow and special management, as well as the clear punishment. For example, there was an announcement in the 2nd year of Kangxi, which claimed that if someone translated or carved the gossips and obscene words which was harmful to morals, the case would be examined by the supervising officials  and governors, then submitted to the ministry. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:03, 2 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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乾隆三年，吏部议定“文禁”条例，对于坊间内小说淫辞，也一并严行禁绝，并根据买卖双方是否具有官方身份给予不同处罚。与此同时，《买看例》、《市卖例》、《禁止邪教不能察辑例》等法令的通过，也给淫词小说的翻刻与兜售等，提供了治罪依据。而以江苏、浙江为代表的地方官府，也相继出台法令，对淫词小说的编次、刊刻、贩卖等一并加以规定，照例治罪。&lt;br /&gt;
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In the third year of Emperor Qianlong’s reign, Board of Civil Office agreed on the regulation of “prohibition of literature”, and strictly forbade the obscene fictions in the street, giving different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of decrees such as ''Rules of Buying and Reading'', ''Rules of Selling'' and ''Rule of Banning Cults from Collecting'' also provided a criminal basis for the reproduction and peddling of obscene novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions and convicting them according to the rules. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 10:55, 28 October 2021 (UTC)&lt;br /&gt;
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In the third year of Emperor Qianlong's reign, the Ministry of Civil Affairs agreed on the regulation of &amp;quot;prohibition of literature&amp;quot;, and strictly prohibited the fictions in the street, and gave different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of laws such as &amp;quot;Buying and watching&amp;quot;, &amp;quot;Selling&amp;quot; and &amp;quot;Banning Cults from Observing and collecting&amp;quot; also provided a criminal basis for the reproduction and peddling of erotic ci novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions with lewd words, as usual--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:08, 3 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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根据上述法令，《金瓶梅》曾多次入列禁毁书单，如《劝毁淫书征信录》、《得一录》中，便均见此书。&lt;br /&gt;
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二、《金瓶梅》译者考辨&lt;br /&gt;
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然而，政府法令对淫词小说的禁毁并没有阻绝《金瓶梅》的翻刻与行销。&lt;br /&gt;
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According to the above decree, &amp;quot;Jin Ping Mei&amp;quot; has been listed on the list of forbidden books, such as &amp;quot;persuade the destruction of obscene books zhengxin Lu&amp;quot;, &amp;quot;de Yi Lu&amp;quot;, will see this book.&lt;br /&gt;
Two, the translation of Jin Ping Mei&lt;br /&gt;
However, the prohibition of erotic novels by government decrees did not stop the reproduction and marketing of Jin Ping Mei--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:00, 3 November 2021 (UTC)&lt;br /&gt;
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According to the above laws and regulations, &amp;quot;Jin Ping Mei&amp;quot; has been included in the list of forbidden books for many times, such as persuade the destruction of obscene books zhengxin Lu&amp;quot;, &amp;quot;de Yi Lu&amp;quot;.&lt;br /&gt;
2、 On the translators of Jin Ping Mei&lt;br /&gt;
However, the prohibition of pornographic novels by government laws and regulations did not prevent the reproduction and marketing of Jin Ping Mei.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:40, 7 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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有人说，《金瓶梅》的名声是被“禁”出来的，这种观点是否合理姑且不论，不过《金瓶梅》之所以能有不同版本流传至今，本身就说明其禁毁政策的失败。而且，清代关于《金瓶梅》的禁毁有其虚伪性：一方面，政府对于此书严行禁毁；另一方面，却将其译成满文，供统治阶级自己阅读。正如马丁·吉姆指出的那样，有清一代，汉文小说被译成满文者，至少在七十二种以上，其中便包括《金瓶梅》、《西厢记》、《三国演义》等，这些小说的翻译显然无法离开统治者的支持，或者至少无法离开其默认。&lt;br /&gt;
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Some people say that the reputation of Jin Ping Mei is from its prohibition. Whether this view is reasonable or not, but the reason why different versions of Jin Ping Mei have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of Jin Ping Mei in the Qing Dynasty had its hypocrisy: on the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including Jin Ping Mei, The Romance of The West Chamber, The Romance of The Three Kingdoms, etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its acquiescence.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:39, 7 November 2021 (UTC)&lt;br /&gt;
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Some people say that the reputation of ''Gold Vase Plum'' is from its prohibition. Whether this view is reasonable or not, the reason why different versions of ''Gold Vase Plum'' have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of ''Gold Vase Plum'' in the Qing Dynasty had its hypocrisy: On the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including ''Gold Vase Plum'', ''The Romance of The West Chamber'', ''The Romance of The Three Kingdoms'', etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its tacitly approval. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:30, 3 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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除《三国演义》（1650年刊印）之外，满译本《金瓶梅》是清初唯一得到刊印的汉文小说。由于译文自然流畅，对于生活的描述真实贴切，该译本被公认为满语文学的杰出代表之一。然而，《金瓶梅》的满文翻译究竟源自什么样的背景，其通行译本的底本究竟是哪种版本或刻本，该译本到底有几个译者，以及该译本为何能在禁令颁行之后的短短数年之内便能刊行于世等，皆存疑问与争议。&lt;br /&gt;
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Besides ''Romance of the Three Kingdoms'' (composed and printed in 1650), Manchu translation of ''Gold Vase Plum'' was the only composed and printed Chinese novel in the early Qing Dynasty. Because of the natural and frequent translation as well as real and proper description of life, this kind of version was widely acknowledged as one of the outstanding representatives of Manchu literature. However, it was still doubtful and controversial about the background of the Manchu translation of ''Gold Vase Plum'', how many translators it had, and why it was composed and printed soon after the bans were published. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:29, 29 October 2021 (UTC)&lt;br /&gt;
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Besides ''Romance of the Three Kingdoms'' (printed in 1650), the Manchu translation of ''The Golden Lotus'' is the only Chinese novel that got printed in the early Qing Dynasty. Because of the natural and fluent translation as well as the real and proper description of life, this translation is widely acknowledged as one of the outstanding representatives of Manchu literature. However, there are still doubts and controversy about these questions：What is the background of the Manchu translation of ''The Golden Lotus''? Which version is the original source for the translation? How many translators does the translation have? Why the translation was printed soon after it was banned?--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:16, 4 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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根据昭梿在《啸亭续录》中的说法，《金瓶梅》的满文翻译系出自户曹郎中和素之手，后者谙习清文，兼通汉文，他所翻译的汉文书籍达到了绝精的程度，而《西厢记》、《金瓶梅》等书的译本也是“疏栉字句，咸中綮（qǐ）肯”，人人争相诵读。和素为满洲镶黄旗人士，曾充任皇子师傅和翻书房总裁，系顺治年间满文翻译家阿什坦次子。作为满洲汉书翻译事业高潮中的重要人物，和素一生著译甚多，其中有名者如《左传》、《菜根谭》、《黄石公素经》等，而相传《金瓶梅》亦出自其手，主要原因有二。&lt;br /&gt;
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According to the content of Zhaolian' s ''Continuation of Xiaoting'', the Manchu translation of ''The Golden Lotus'' was made by Hesu who was the chief official in Hucao. Hesu not only mastered Manchu language but also possessed the knowledge of Chinese. His translation of Chinese books attained a really high level. His translations of ''Romance of the Western Chamber'' and ''The Golden Lotus'' were so faithful that people read them competitively. Hesu, who was from Bordered Yellow Banner in Manchuria, once took the official position of teacher for royal children and president of Fanshu house. In addition, he was the little son of Ashtan who was a Manchu translator in Shunzhi years. As an important figure in the climax of the cause of translating Chinese books in Manchuria, Hesu translated a lot of books including famous works such as ''Legend of Spring and Autumn Century by Zuo Qiuming''，''Roots of Wisdom'', ''Huang Shigong Scripture'' and so on. It is said that the translation of ''The Golden Lotus'' was also made by him. Here are two main reasons.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:03, 4 November 2021 (UTC)&lt;br /&gt;
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According to the statements in Zhaolian' s ''Continuation of Xiaoting'', ''The Golden Lotus'' in Manchu was translated by Hesu who was the official office in charge of people's households, ancestral temples, agriculture, mulberry and also was the chief imperial chamberlain. Hesu was not only skilful at the Qing language but also proficient in Chinese. His translation of Chinese books has reached the point of absolute perfection. Besides,  in his translations of ''The Romance of Western Chamber'' and ''The Golden Lotus'', he also trimmed the words, sentences and got to the main point so that everyone strived to read and recite these works. Hesu, a Bordered Yellow Banner in Manchu, was once in the position of the master of the emperor's son and the president of the Translation Study. In addition, he was the second son of Ashtan who was a Manchu translator during the years of Shunzhi. As an important figure of the climax in the course of translating Chinese books into Manchu, Hesu translated a great number of books including some famous works such as ''Zuozhuan''，''Tan Roots'', ''Huangshi Gongsu Meridian'' and so on. What's more, it was said ''The Golden Lotus'' was also translated by him. There were two main reasons.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:04, 5 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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其一，便是和素兼通满、汉，其本人确系康熙朝的著名翻译家，曾亲自组织、参与诸多汉籍的翻译；其二，如上述昭梿的《啸亭续录》一样，清初档案文献中确有不少将满译《金瓶梅》归于和素者。《啸亭杂录》和《清稗类钞》中，也称赞和素翻译的《金瓶梅》和《西厢记》等“极其出色”。然而，也有持论不同者。如《批本随园诗话》“批语”中说：“翻译《金瓶梅》，即出徐蝶园手。”&lt;br /&gt;
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Firstly, it was because Hesu was proficient in both Manchu and Chinese, he himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above,  in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different views. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that ''The Golden Lotus'' was translated by Xu Dieyuan.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:44, 1 November 2021 (UTC)&lt;br /&gt;
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First of all, it was because Hesu was proficient in both Manchu and Chinese, and at the same time participated in lots of translations. He himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above,  in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different ideas. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that the translator of  ''The Golden Lotus'' was Xu Dieyuan.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:43, 1 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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徐蝶园即徐元梦，满洲正白旗人，康熙朝重臣，康熙十二年进士，选授庶吉士，先后于雍正、乾隆两朝充任《明史》总裁，以及《清世宗实录》副总裁。徐蝶园精研满汉文，曾于康熙年间署大学士，充起居注讲官，但正史中对于徐氏的译书活动记载较少，而且往往语焉不详，因此难以判断其译者身份。叶德均在《戏曲小说丛考》中，也援引伍子舒（闽浙总督伍拉纳之子）所撰《随园诗话》点校本中的说法，指出《金瓶梅》的满文译者即是徐蝶园，但这一观点始终不如前一种通行。&lt;br /&gt;
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Xu Dieyuan was Xu Yuanmeng, a native of the Manchu flag, a high-ranking official of Kangxi, and was Scholars in the twelfth year of Kangxi. He was appointed the president of the ''Ming Dynasty'' in Yongzheng and Qianlong and the vice president of the ''Records of the Qing Dynasty''. Xu Dieyuan studied Chinese literature. He worked as a college scholar during the reign of Kangxi and made charge of daily life. However, the translation activities of Xu in official history are few, and often vague, so it is difficult to judge the identity of the translator. In the ''Cong Examination of Opera Novels'', Ye Dejun also quoted Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in the ''Poetry of the Garden'', pointing out that the Manchu translator of ''The Golden Lotus'' is Xu Dieyuan, but this view is always not as popular as the previous one. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:44, 1 November 2021 (UTC)&lt;br /&gt;
Xu dieyuan, namely Xu Yuanmeng, a native of Manchuria's Zhengbai banner, was an important Minister of the Kangxi Dynasty. He was elected as a scholar in the 12th year of the Kangxi Dynasty and was awarded to Shu Jishi. He successively served as president of the history of the Ming Dynasty and vice president of the records of emperor Shizong of the Qing Dynasty in the Yongzheng and Qianlong dynasties. Xu dieyuan is a master of Chinese. He once served as a bachelor and a lecturer during the reign of Kangxi. However, there are few records of Xu's book translation activities in official history, and they are often vague, so it is difficult to judge his translator's identity. Ye Dejun also quoted the view in the school edition of Suiyuan poetry written by Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in his collection of opera novels, pointing out that the Manchu translator of Jin Ping Mei is Xu dieyuan, but this view is not as popular as the former.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 12:07, 1 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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徐蝶园晚年的确参与过翻译之事，但满译本《金瓶梅·序》的署理日期为康熙四十八年，而徐蝶园此前曾经两度被诏罪入狱，因而由他翻译此书，条件上似乎不大成立。而且，徐蝶园虽然精研满汉双语，但其中年后精研理学，这一点与《金瓶梅》的题材内容和思想旨趣，以及序言中对于该书的积极评价等，也不尽符合。与此同时，更有认为满译本《金瓶梅》系出自皇族成员者，这种观点主要见于西方学者，又分成两派。&lt;br /&gt;
Xu dieyuan did participate in translation in his later years, but the acting date of the Manchu translation of Jin Ping Mei · preface is the 48th year of Kangxi. Xu dieyuan had been jailed for imperial edicts twice before, so it seems that the conditions for him to translate the book are not tenable. Moreover, although Xu dieyuan studied both Manchu and Chinese, he studied Neo Confucianism in his middle age, which is not consistent with the theme, content and ideological purport of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, it is also believed that the Manchu version of Jin Ping Mei comes from members of the royal family. This view is mainly seen in western scholars and divided into two schools.&lt;br /&gt;
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Xu Dieyuan did participate in the translation in his later years, but the full translation of Jin Ping Mei · Preface was written in the 48th year of The Kangxi Dynasty, and Xu Dieyuan had been sentenced to prison twice before, so it seems unlikely that he could translate this book. Moreover, although Xu Dieyuan concentrates on studying Both Manchu and Chinese, he concentrates on neo-confucianism in the second half of the year, which is not in accordance with the subject matter and ideological purview of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, there are more people who believe that the full version of Jin Ping Mei is from the royal family, which is mainly seen in western scholars and divided into two schools.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:39, 7 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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其中，一派认为是出自康熙皇帝的兄弟，如黎马苏（1833：182-183）、克拉普罗特（1633：61）、怀利（1855：XLIII）、加伯连茨（1862：543）、圣德尼斯和赫维侯爵（1894：17）、格鲁伯（1909：431）、劳弗尔（1908：32）、耶格尔（1935：539），以及鲍威尔（1974：1940-1941）等；另一派则认为是出自乾隆皇帝的某个兄弟，如加伯连茨（1879：171）、格列宾西科夫（1879：171）、莫连道尔夫（1890：235）、扎查（1905：130），以及李福廷和西蒙诺夫（1981：259）等。上述两派观点多次出现在欧洲的文学作品中，但二者都缺乏史料考证，至少未能获得中国学界的重视与认可。&lt;br /&gt;
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Among them, one group attributed it to the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other attributed it to the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:11, 1 November 2021 (UTC)&lt;br /&gt;
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Among them, one group thought it was from the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other thought it was from one of the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 00:38, 2 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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考虑到康、雍以来的历代君主对于淫词小说一直采取禁毁态度，而在此情形下竟有皇族成员翻译《金瓶梅》这样的禁毁小说，其荒唐之程度，难以想象。但不论实际情形如何，《金瓶梅》最终还是译成付梓，这一事实只能说明两点：其一，清代的所谓书禁或禁译只是针对民间，对统治者尤其是君主而言则可能是“无禁”；其二，翻书房的设立固然是为了翻译汉族经典和汉文书籍，但也不能排除翻译禁毁书籍，专供皇帝御览。总之，《金瓶梅》的满文翻译与刊刻，不可能游走在政府禁令之外，而不得到政治力的审查、默认或者首肯。&lt;br /&gt;
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Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be &amp;quot;no prohibition&amp;quot; for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:26, 29 October 2021 (UTC)&lt;br /&gt;
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Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be &amp;quot;no prohibition&amp;quot; for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:09, 30 October 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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特别是在康熙朝以后皇权至上的集权政治中，离开了最高统治者的支持，任何汉籍的翻译恐怕都无法成行。事实上，虽然淫词小说的禁毁乃是清代长期的文化政策，但政府在推进、执行这一政策的过程中，也存在不作为或者消极作为的情况。正如余治在《得一录》中所说，清廷对于淫词戏曲，虽有禁毁之条，而当政者中视其为一纸空文，坐视不管者，亦大有人在。&lt;br /&gt;
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Especially in the centralized politics where imperial power reigned supreme after the Kangxi dynasty, I am afraid that no translation of Chinese books could be made possible without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhizhi says in &amp;quot;The Record of the First&amp;quot;, although the Qing court had a prohibition on the destruction of obscene words and operas, there were many people in power who regarded it as a piece of paper and sat on it.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:07, 30 October 2021 (UTC)&lt;br /&gt;
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Especially in the centralized politics where imperial power reigned supreme after the Kangxi’s reign, I am afraid that no translation of Chinese works could be come out without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhi says in &amp;quot;The Record of the First&amp;quot;, although the Qing court had a prohibition on the destruction of obscene poems and operas, there were many people in power who regarded it as a piece of paper and sat by and did nothing.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:11, 1 November 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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乾隆三年，朝廷在颁布禁毁之令时，即关注到了地方官府执行不力的情况，认为这是导致禁毁失败的主要原因。而政府的消极作为主要来自两方面的原因，其一是所谓“人情”，即人之本性，其二是小说本身的应世性，即有助于市民在长期遭受禁欲主义后宣泄情绪。正是由于人心、人情难禁，因而《金瓶梅》的翻译与刊刻便有了生存空间。&lt;br /&gt;
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In the third year of  Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments, which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “renqing” which is human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of “The plum in the Golden Vase” possible.&lt;br /&gt;
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In the third year of Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “RenQing” which is represent human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of ''The plum in the Golden Vase'' has room for survival.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:50, 4 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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正如王汝梅先生所说，康熙年间政府一再严谨淫词小说，而以满文翻译《金瓶梅》，其工程可谓浩大，因而该书的翻译不可能只是民间行为。恰恰相反，《金瓶梅》的翻译势必是得到了康熙帝御准的，由翻书房具体策划和实施的“计划内工程”。《金瓶梅》的满文译本成书于康熙四十七年，全书共计四十卷一百回，其存本与抄本被分别收藏于国家图书馆、中央民族大学图书馆、中国社科院民族研究所、北京民族文化宫、大连图书馆、吉林大学图书馆，并另有赵则诚先生藏本一部。&lt;br /&gt;
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As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating Jin Ping Mei into Manchu was huge. Therefore, the translation of jin Ping Mei could not be just a folk act. On the contrary, the translation of Jin Ping Mei must have been approved by Emperor Kangxi and specifically planned and implemented by Fanshufang. The Manchu translation of Jin Ping Mei was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 06:20, 28 October 2021 (UTC)&lt;br /&gt;
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As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating ''The Plum in the Golden Vase'' into Manchu was huge. Therefore, the translation of ''The Plum in the Golden Vase'' could not be just completed by the folks. On the contrary, it must have been approved by Emperor Kangxi and specifically planned and implemented by Translation Office. The Manchu translation of ''The Plum in the Golden Vase'' was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 03:41, 2 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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上述藏本中，既有刊本，又有抄本，其中多数又为残本。如前所述，关于《金瓶梅》满文译本到底出自何人之手，学界长期存在争议，其中原因无疑与译本序言中并未明确译者姓名有关。同时，译本序言本身又缺乏作者，使得译本的归属如同原著的作者一样更加扑素迷离。&lt;br /&gt;
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Among the above collections, there are both printed and copied edition, most of which are fragmentary. As mentioned above, there has been a long-standing controversy in the academic circles about who wrote the Manchu translation of ''The Plum in the Golden Vase'', which is undoubtedly related to the fact that the name of the translator is not clear in the preface of the translation. At the same time, the preface itself lacks the author, which makes the ownership of the translation more blurred like the author of the original.&lt;br /&gt;
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which is undoubtedly connected with the fact that the name of the translator is not clear in the preface of the translation.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:48, 7 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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虽然如此，一般仍认为和素即是该书的译者，一则是因为昭梿的《啸亭杂录》和《啸亭续录》中均提及此事，且昭梿本人又是皇族之后，其所言所记当属可信。另一方面，康熙四十七年，和素曾奉敕纂成《清文鉴》一书，而《金瓶梅》的满文译本刊印于康熙四十五年，其序言的刊行时间则与《清文鉴》的成书时间相同，二者的编纂和翻译时间相距较短，期间必有关联。王汝梅先生在和候忠义先生合编《金瓶梅资料汇编》一书时，曾经从赵则诚先生处借得满文本《金瓶梅》，并请刘厚生先生将满文序文译成汉语，认为该序言表明译者即是和素。&lt;br /&gt;
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However, it is still generally believed that He Su was the translator of the book, partly because Zhaofan's &amp;quot;Xiao Ting Miscellaneous Records &amp;quot; and &amp;quot;Xiao Ting Miscellaneous Records·Sequel&amp;quot; are mentioned in this matter, and Zhaofan himself is a descendant of the royal family, what he said should be credible. On the other hand, in the 47th year of the Kangxi dynasty, He Su was ordered by the Emperor to write the ''Imperial Code of Qing Wen Jian'', and the Manchu version of Jin Ping Mei was published in the 45th year of the Kangxi dynasty. The publishing time of its preface was the same as that of the ''Imperial Code of Qing Wen Jian''. The compilation and translation time of the two is relatively short, so there must be a correlation between them. When Mr. Wang Rumei and Mr. Hou Zhongyi were co-editing the ''Jin Ping Mei Data Collection'', he borrowed the full text of ''Jin Ping Mei'' from Mr. Zhao Zecheng and asked Mr. Liu Housheng to translate the Manchu preface into Chinese, believing that the preface indicated that the translator was He Su.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 08:31, 30 October 2021 (UTC)&lt;br /&gt;
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Nevertheless, it is generally believed that Hesu is the translator of the book. On the one hand, it is mentioned in Zhaohe's miscellaneous records of Xiaoting and continuation of Xiaoting, and after Zhaohe himself is a royal family, his words and records are credible. On the other hand, in the 47th year of Kangxi, Hesu was compiled into qingwenjian by imperial edict, while the Manchu translation of Jin Ping Mei was published in the 45th year of Kangxi. The publication time of its preface is the same as that of qingwenjian. The compilation and translation time between them is short, and the period must be related. When Mr. Wang Rumei and Mr. Hou Zhongyi jointly compiled the compilation of Jin Ping Mei materials, he once borrowed the full text of Jin Ping Mei from Mr. Zhao Zecheng and asked Mr. Liu housheng to translate the Manchu preface into Chinese. He believed that the preface showed that the translator was a harmony element.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:09, 7 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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但满文本《金瓶梅》序言中，介绍的主要是该书的故事梗概，明确指出了该书的劝戒之意，并有“是以令其译之”，以及“余趁闲暇之时作了修订”等语，但由于序言本身缺乏作者，因而此处所说的“其”（即译者）系指谁，且该译者又是受“令”于谁等，皆成疑问。然而，满文本《金瓶梅》确系译自崇祯本《金瓶梅词话》，同时参照了张竹坡的《金瓶梅》点评本，这一点已成共识。众所周知，张评本《金瓶梅》刊刻于康熙三十四年，其底本同样是崇祯本《金瓶梅词话》，而满译本《金瓶梅》成书于康熙四十五年，前后相距十三年。&lt;br /&gt;
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However, the preface of the Manchu text ''The Plum in the Golden Vase'' mainly introduces the story outline of the book, It clearly points out the meaning of the book's admonition, and has the words &amp;quot;to make it translated&amp;quot; and &amp;quot;I revised it in my spare time&amp;quot;. But due to the lack of author in the preamble, It is doubtful who is the &amp;quot;Qi&amp;quot; (the translator) refers to here, and whose &amp;quot;command&amp;quot; the translator has received. However, the Manchu text ''The Plum in the Golden Vase'' is indeed translated from Chongzhen's ''Jin Ping Mei CI Hua'', and also refers to Zhang Zhupo's comment on ''The Plum in the Golden Vase'', which has become a consensus. As we all know, Zhang Ping's ''The Plum in the Golden Vase'' was published and engraved in the 34th year of Kangxi, and its base copy is also Chongzhen's ''Jin Ping Mei CI Hua'', while the Manchu translation of ''The Plum in the Golden Vase'' was completed in the 45th year of Kangxi, 13 years apart.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:31, 29 October 2021 (UTC)&lt;br /&gt;
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However, the preface of ''The Plum in the Golden Vase'' in the Manchu translation mainly introduces the outline of the book, explicitly points out that the meaning of the book's admonition and that has the words &amp;quot;to make it translated&amp;quot; and &amp;quot;to revise it in spare time&amp;quot;. But due to the lack of author in the preface, It is doubtful who is the translator in it, and whom &amp;quot;command&amp;quot; the translator. However,  However, it has become a consensus that the Manchu version of ''The Plum in the Golden Vase'' is indeed translated from Chongzhen edition of ''Ci hua of Jin Ping Mei'', with reference to zhang Zhupo's commentary edition of ''The Plum in the Golden Vase''. As is known to all, Zhang's ''The Plum in the Golden Vase'' was printed in the 34th year of the Reign of Emperor Kangxi, and its original version is also the Edition of ''The Plum in the Golden Vase'' in the period of Emperor Chongzhen, while the Manchu version of ''The Plum in the Golden Vase'' was completed in the 45th year of the Reign of Emperor Kangxi, 13 years apart.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 12:17, 7 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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在此期间，虽然该书的满文翻译到底缘起于何时，仍不得而知，但考虑到译者对于底本的比堪与研究，其翻译的过程势必绵长。三、《金瓶梅》翻译中的意识形态审查。不同于《三国演义》中“文不甚深，言不甚俗”的语言特点，《金瓶梅》中充斥着大量情色描写。&lt;br /&gt;
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During this period, although the exact origin of the Manchu translation of this book remains to be find, considering the translator’s comparison and research on the original, the process of translation is bound to be long. Third, the ideological review in the translation of ''The Plum in the Golden Vase''. Different from ''the Romance of The Three Kingdoms'', in which the writing is not too abstruse and the words are not vulgar, ''The Plum in the Golden Vase'' is flooded with erotic descriptions.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 02:39, 29 October 2021 (UTC)&lt;br /&gt;
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During this period, although the exact time of the Manchu translation of &amp;quot;The Plum in the Golden Vase&amp;quot; is still unknown, considering the translator's comparison and research on the original text, the translation process is bound to be a long period. Third, The ideological review in the translation of &amp;quot;The Plum in the Golden Vase&amp;quot;. Different from the linguistic characteristics of &amp;quot;The Romance of the Three Kingdoms&amp;quot;, in which  the writing is not too abstruse and the words are not vulgar&amp;quot;, &amp;quot;The Plum in the Golden Vase&amp;quot; is full of erotic descriptions., --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:47, 6 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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同时，虽然《金瓶梅》的满文译本最终成书于康熙年间，但统治者对于此书的翻译讳莫如深，这一点也明显不同于《清实录》等文献中关于清初诸帝好读《三国演义》，并敕译此书的历史现实。态度上的前后转变，其中必有起因。正如丁原基在《清代康雍乾三朝禁书原因之研究》中所说，清代各朝之所以频兴文字狱，其中原因虽不尽相同，但亦必有之。例如，康熙初年，明朝遗老怀故国之思者甚多，其所撰作品自然入禁毁之列。&lt;br /&gt;
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At the same time, although the Manchu translation of &amp;quot;The Plum in the Golden Vase&amp;quot; was finally written in the Kangxi period, the rulers were extremely reticent about the translation of this book. It is also obviously different from the fact stated in &amp;quot;Factual Record of Qing Dynasty&amp;quot; and other documents that the rulers in the early Qing Dynasty were fond of reading &amp;quot;The Romance of the Three Kingdoms&amp;quot; and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in &amp;quot;Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty&amp;quot;, the reasons for the frequent rise of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:31, 6 November 2021 (UTC)&lt;br /&gt;
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At the same time, although the Manchu translation of &amp;quot;The Plum in the Golden Vase&amp;quot; was finally completed in the Kangxi period, the rulers were extremely reticent about the translation of this book,which is also obviously different from the fact stated in &amp;quot;Factual Record of Qing Dynasty&amp;quot; and other documents that the rulers in the early Qing Dynasty were fond of reading &amp;quot;The Romance of the Three Kingdoms&amp;quot; and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in &amp;quot;Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty&amp;quot;, the reasons for the high frequency of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:43, 6 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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康熙仙逝，雍正得其帝位，然而由于朝野疑窦重重，政权未稳，朝廷对于舆论也倍加留心。乾隆年间，虽然朝廷奉敕开设四库馆，博取奖励学术的美名，但禁书之苛刻同样无出其右。如康熙朝初期，由于圣祖表彰理学，故而御纂朱子全书，以及群经性理诸编。&lt;br /&gt;
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Kangxi passed away and Yongzheng won his throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinion. During the period of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was also unparalleled. For example, in the early period of the Kangxi, because Kangxi commended Neo-Confucianism, Qianlong ordered to compile the complete books of Zhu Zi and the Confucian classics.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 12:53, 29 October 2021 (UTC)&lt;br /&gt;
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Kangxi passed away and Yongzheng succeeded to the throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinions. During the reign of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was still incomparable. For example, in the early period of Kangxi Dynasty, the emperor ordered to compile the complete books of Zhu Zi and the Confucian classics because the founding emperor commended Neo-Confucianism.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:26, 3 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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康熙二十五年，上谕礼部及翰林院，指出经学史乘务必以“修齐治平，助成德化者方为有用”，而“有乖经术，异端邪说”，则概不准录。即是在此背景下，南怀仁的《穷理学》译本因为实属“诡言邪说”、“语既不经”，也遭到禁毁。此次遭到禁毁的《穷理学》二书译成于康熙二十二年，共六十卷，由南怀仁于同年八月进呈御览。&lt;br /&gt;
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In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that Confucian classics and books about official history &amp;quot;cannot be called useful unless they are for the purpose of improving self-cultivation and governance of country and helping people to become virtuous&amp;quot;; &amp;quot;those deviated from Confucian classics and those heresies&amp;quot; will not be embodied. It was in such an background that the translation of &amp;quot;Philosophy of pursuing truth&amp;quot; by Nan Huairen was banned and destroyed because it was regarded as &amp;quot;paradoxical, heretical and unorthodox&amp;quot;. The books of &amp;quot;Philosophy of pursuing truth&amp;quot; which were banned and destroyed had been translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen submitted to the imperial review in August of the same year.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:02, 3 November 2021 (UTC)&lt;br /&gt;
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In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that the Confucian classics and historical books &amp;quot;must be useful for the purpose of improving self-cultivation, of the stable governance of country and of helping people to be virtuous&amp;quot;; &amp;quot;those deviated from Confucian classics and those heresies&amp;quot; can not be included. It was exactly in such background that the translation of &amp;quot;Philosophy of pursuing truth&amp;quot; by Nan Huairen was banned and destroyed for it was regarded as &amp;quot;paradoxical, heretical and unorthodox&amp;quot;. The two books of &amp;quot;Philosophy of pursuing truth&amp;quot; banned and destroyed were translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen later submitted to the imperial review in august of the same year.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:16, 6 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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所谓《穷理学》，用徐宗泽的话说，便是“论理学”，该书或译自亚里士多德哲学中的某一部分，或续译傅汎际（Francois Furtado）、李之藻合译的《名理探》。南怀仁在进呈此书译本的奏折中指出：进穷理学之书，以明历理，以广开百学之门，永垂万世事。窃惟治历明时，为帝王之首务；今我皇上治历明时，超越百代，如太阳之光，超越诸星之光。&lt;br /&gt;
The so-called ''Qiongli Xue'' is considered “views about science ” in Xu Zongze's opinion. The book Qiongli Xue is either translated from a certain part of Aristotle's philosophy, or a continuation of the translation of &amp;quot;Ming Li Tan&amp;quot; by Francois Furtado and Li Zhizao. Nan Huairen pointed out in the memorial to the translation of this book: By the thorough studying of the books of science, from the understanding of all the science theory in the past, with the establishment of every subject, to the reigning in forever time. Maintaining the stability of society is emperor's first task. Now our reignment is stable and prosperous, no dynasty else could compete, as every star dims before the glory of great sun.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:59, 6 November 2021 (UTC)&lt;br /&gt;
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The so-called &amp;quot;QiongLiXue &amp;quot;, in the words of Xu Zongze, is the &amp;quot;theory of science&amp;quot;, the book is either translated from a part of Aristotle's philosophy, or continue to translate the translation of Francois Furtado, Li Zhizao's translation of the &amp;quot;name and theory of exploration&amp;quot;. Nan Huairen in the submission of the translation of this book, pointed out: into the book of poor science, in order to understand the calendar, in order to widely open the door of a hundred studies, eternal things. The emperor's first task is to rule the calendar and to understand the time; now our emperor rules the calendar and understands the time, beyond a hundred generations, like the light of the sun, beyond the light of the stars.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:44, 7 November 2021 (UTC)Yi  Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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然盖历法有属法之数，有立法之理，设惟有其法之数，而无其法之理，即如人惟有形体，而无灵性，亦如诸天惟有定所，而无运动之照临焉。夫历理为诸星恒动定规之所由，如泉源为水流之之所自也。……今我皇上之治历，已为全备，其书则有永年历表，有灵台仪象志，有诸历之理指一百五十余卷。&lt;br /&gt;
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However, the calendar has the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as a person only has a body without spirituality, and as the sky only has a fixed place, but no movement of the illumination. The calendar for the constant movement  as the stars move the rules of the origin, or as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 07:22, 3 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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However, the calendar has both the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as if a person only has a body without spirituality, and as if the sky only has a fixed place, but no movement of the illumination. The design for calendar is because of the constant movement of the stars, just as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:34, 3 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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历典光明，可谓极矣。然臣犹有请者，非为加历理之内光，惟加历理之外光，将所载诸书之历理，开穷理之学，以发明之，使习历者知其数，并知其理，而后其光发见于外也。《穷理学》虽然翻译了亚里士多德的演绎推理等理论，但它也翻译了古希腊的自然哲学内容，以及近代西方的科学知识，因而并非专门的逻辑学译著。&lt;br /&gt;
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The compilation of the calendar has reached its peak in this dynasty. However, I still have something to present, not aiming to complement the calendar but to further promote it. I will record books on calendar theory and create a study of calendar theory, so as to create new methods on it, so that people who study calendar can know the number of calendar and its principle, and then carry forward the calendar.&lt;br /&gt;
Although ''Thorough Iquiry into Physics'' translated Aristotle's theories like deductive reasoning, it also translated the natural philosophy of ancient Greece and modern western scientific knowledge, so it is not a special translation for logic.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:24, 3 November 2021 (UTC)&lt;br /&gt;
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The grandness of the compilation of the calendar is unparalled. However, I still have something to present, aiming not to complement the calendar but to further promote it. I will record books on calendar theory and create a study of it, so that people who study calendar can know both the number and principles of the calender, and then carry it forward .&lt;br /&gt;
Although the translation of Aristotle's theories like deductive reasoning were included in ''Thorough Inquiry into Physics'', so were the natural philosophy of ancient Greece and modern western scientific knowledge. Therefore it is by no means a mere translation for logic.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 01:43, 5 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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《影响中国近代社会的一百种译著》中，曾有人将《穷理学》看作《名理探》的补译，认为南怀仁翻译此书，只是为了证明“目的论”这一经院哲学中的基本概念，这一观点显然值得商榷。《穷理学》译本中，固然摄入了逻辑学、方法论等形而上学的内容，但同时也摄入了力学、数学等自然科学知识。上文中，南怀仁借进呈《穷理学》译本之际，极力宣陈修历的重要性，并将“穷理学”看作“百学之宗”，认为它有如砺石，可以之试真；有如蘑堪，可以之订非；有如眼目，可以之明悟。&lt;br /&gt;
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In the book ''One Hundred Translations that influenced Modern Chinese Society'', some people viewed ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. In the above article, Nan Huairen made an utmost effort to claim the importance of revising calendar. He regarded ''Thorough Inquiry into Physics'' as &amp;quot; the center of one hundred schools&amp;quot; ,which is like a burr that could distinguish the genuine from the fake, an exam that could tell problems and the eyes that could see things through.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 00:54, 5 November 2021 (UTC)&lt;br /&gt;
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In ''One Hundred Translations that influenced Modern Chinese Society'', some people regarded ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that the contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. Above the content, Nan Huairen made an great effort to stress the importance of revising calendar and regarded ''Thorough Inquiry into Physics'' as &amp;quot; the center of one hundred schools&amp;quot; ,which is like a burr that could distinguish the genuine from the fake, an exam that could correct wrongs and the eyes that could see through things.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:37, 7 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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概言之，便是“诸学之首需者”。康熙二十二年，《穷理学》完成编译，同年八月二十六日进呈康熙皇帝。康熙帝御览此书后，曾降旨礼部和翰林院，敕令其“会同详看议奏”，但士大夫们经过议复之后，不少人对此抱持异议，其中甚至有强烈抵触者，因而康熙帝只能将此书译本退还南怀仁。&lt;br /&gt;
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In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the complication of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had ordered the Ministry of Rites and the Imperial Academy to gather to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people agreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this complication to Nan Huairen.&lt;br /&gt;
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In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the compilation of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had issued a imperial decree gathering the Ministry of Rites and the Imperial Academy to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people disagreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this compilation to Nan Huairen.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:37, 3 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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格物致知的书籍尚且如此，诲淫诲盗的小说更不用说。仍以《金瓶梅》的满文翻译与传播接受为例，即可知此。众所周知，大清立国之后，虽然制度上有不少因袭明代之处，但文化政策整体偏紧。&lt;br /&gt;
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This was the case with books which studied phenomena to acquire knowledge , not to mention novels on prostitution and piracy. Still taking the translation and dissemination of &amp;quot;Jin Ping Mei&amp;quot; in Manchu as an example, we can know that. As we all know, after the establishment of the Qing Dynasty, although the system had inherited from that of the Ming Dynasty a lot, but the overall cultural policies were a little bit tight.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:27, 3 November 2021 (UTC)&lt;br /&gt;
The same is true of books about physical knowledge, not to mention novels about obscene deeds. --[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 15:01, 4 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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康熙年间，由于皇帝热衷儒学，后又在汉官劝谏下将兴趣引导至理学方向，因而对君德圣学、政教纪纲等，尤为重视。康熙九年，圣祖颁布《圣训十六条》，强调教化为先，而非法令为亟，其中便对所谓“近见风俗日敝，人心不古”的情形进行训斥。为此，康熙帝敕令内、外文武各官，务必“敦孝弟以重人伦”，“黜异端以崇正学”，“明礼让以厚风俗”，要求他们“督率举行”。&lt;br /&gt;
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During the reign of Kangxi, because the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the advice of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. In the ninth year of Kangxi's reign, the emperor Shengzu promulgated the sixteen articles of the holy sermon, which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of &amp;quot;seeing that the customs are getting worse and the people's hearts are not ancient&amp;quot;. Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must &amp;quot;respect human relations&amp;quot;, &amp;quot;dethrone heretics to uphold righteousness&amp;quot;, &amp;quot;Ming rites and concessions to thick customs&amp;quot;, and asked them to &amp;quot;supervise the holding of meetings&amp;quot;.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 08:15, 3 November 2021 (UTC)&lt;br /&gt;
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During the reign of Kangxi, as the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the admonish of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. Under the ninth year of Kangxi's reign, the emperor Shengzu promulgated ''the sixteen articles of the holy sermon'', which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of &amp;quot;seeing that the customs are getting worse and the people's hearts are not conventional anymore&amp;quot;. Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must &amp;quot;respect human relations&amp;quot;, &amp;quot;dethrone heretics to uphold righteousness&amp;quot;, &amp;quot;learn rites and concessions to enrich customs&amp;quot;, and asked them to &amp;quot;supervise and take the lead&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:41, 5 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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康熙三十九年，圣祖亲征塑漠蒙古凯旋，并在太学立碑，其中又强调“以文德化成天下”的重要。康熙四十一年，圣祖颁布《训饬士子文》，再次声明“隆重师儒”、“厘剔弊端”、“务期风教修明”。上述谕令皆发生在满译本《金瓶梅》成书之前，无疑会对后者产生重要影响。&lt;br /&gt;
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In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of &amp;quot;conquering the world with cultural and moral uprightness&amp;quot;. In year 41, Shengzu the emperor promulgated ''Xunchi Shiziwen'', declaring that &amp;quot;to grandly teach Confucianism&amp;quot;, &amp;quot;to eliminate malpractices&amp;quot; and &amp;quot;to cultivate morality and wisdom&amp;quot;. All the above decrees took place before the completion of the full translation of ''Jin Ping Mei'', which will undoubtedly have an important impact on the latter. --[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:46, 2 November 2021 (UTC)&lt;br /&gt;
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In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of &amp;quot;conquering the world with cultural and moral uprightness&amp;quot;. In the 41th year under the reign of Kangxi, Shengzu the emperor promulgated ''A Text for the Discipline of the Scholar'', declaring that &amp;quot;to grandly teach Confucianism&amp;quot;, &amp;quot;to eliminate malpractices&amp;quot; and &amp;quot;to cultivate morality and wisdom&amp;quot;. All the above decrees took place before the completion of the full translation of ''The Golden Lotus'' which will undoubtedly have an important impact on the latter.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:17, 3 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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康熙五十三年，上谕诸臣，指出“正人心”、“厚风俗”与“治天下”之间的关系，要求崇尚经学，严禁小说淫词。为此，朝臣奉旨议定条例，规定坊间一切小说淫词，务必悉数查绝，并将板片书籍予以销毁，违者从重治罪。在清廷严厉的禁书背景下，《金瓶梅》及其满文译本将会遭受何种命运，便不得而知。&lt;br /&gt;
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In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting the hearts of the people”，“thickening custom”and “ruling the world”，demanding that scripture be revered and that novels and obscene words be strictly forbidden. To this end,the imperial ministers were instructed to agree on regulations that all novels and obscene words must be eliminated from the streets and taht the books must be destroyed,and that offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.&lt;br /&gt;
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In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting people‘s minds”，“strengthening custom”and “ruling the empire”，demanding that scripture should be revered and novels and obscene words be strictly forbidden. So the imperial ministers were instructed to stipulate regulations that all novels and obscene words must be eliminated. And the books must be destroyed. All offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:56, 1 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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自太祖朝以来，清初翻译汉文古典小说，皆以教化为主，而以文学性为次。统治者寄望于翻译的不是文学的审美作用，而是正确的价值观念和人伦纲纪思想。换言之，通过翻译，塑造道德，规范秩序，实现向善求真。&lt;br /&gt;
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Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on enlightenment, partially on literariness. The rulers think that the purpose of translation is not for literary aesthetic，but for the establishing of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:56, 28 October 2021 (UTC)&lt;br /&gt;
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Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on moralization, partially on literariness. The rulers hope that the purpose of translation is not for literary aesthetic，but for the establishment of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:52, 30 October 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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而《金瓶梅》的翻译显然不具备以上作用，它既不像《四书》、《五经》的翻译那样能够启迪心性，荡涤灵魂，又不像《三国演义》般能够探求兵略，维护社会稳定。虽然《金瓶梅》中过于露骨的文字描述使得它不适合翻刻、刊行，但其满文译本最终仍得以成书，并流传于世，其中原因固然有多种可能，但统治者的首肯或默许必是其中之一。如黄润华在《满文翻译小说述略》中所说，满译本《金瓶梅》的问世，不论其译者为谁，或和素，或徐元梦，必定是获得了特别的许可，因而才能译成满文并刊刻行世。&lt;br /&gt;
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But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the explicit description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:42, 30 October 2021 (UTC)&lt;br /&gt;
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But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind and purify their souls, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the obscene description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:00, 31 October 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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也只有得到最高统治者的默允，才不致因为擅自翻译刊印而受到惩处。事实上，早在顺治九年，清廷即出台明令，严禁翻刻琐语淫词。康熙二年，圣祖重申此禁，对淫词小说的利害关系晓之以理。&lt;br /&gt;
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Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Sun Zhi Period, Qing government issued public proclamation to prohibit translating obscene words. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this order, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:24, 28 October 2021 (UTC)&lt;br /&gt;
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Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Shun Zhi Period, Qing government issued public proclamation to prohibit translating risque book. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this injunction, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:24, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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然而，由于大清入关之初，全国尚未完成一统，统治者的政策重心在于武力征伐和国家统一，为此便需要笼络人心，因而朝廷对于汉族小说及其翻译并未有多大偏见。昭梿在《啸亭杂录》中说，和素翻译绝精，由他所翻译的《金瓶梅》、《西厢记》等书广受好评，所谓“人皆争诵”，即可说明此点。康熙年间，虽然朝廷加大了对于淫词小说的禁毁，但大体而言，自顺治元年至康熙二十二年之间，由于朝廷文禁的重点在于政治倾向显著的作品，因而对于琐语淫词类小说的禁毁和惩处，影响较小。据石昌渝考证，清初小说中被朝廷查处论罪者，仅有两部，即《无声戏二集》和《续金瓶梅》。&lt;br /&gt;
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However, at the time of the Qing dynasty's invasion, the whole country had not yet been unified, and the ruler's policy focus on military conquest and national unification, so the ruler needed to win the love of people. Therefore, the court did not have much prejudice against Han novels and their version of translation.  In ''You pavilion miscellanea'' Zhao Lian said ''The Plum in the Golden Vase'','' Western chamber'' and other books translated by He’su were widely praised, reached the level of &amp;quot;everyone rushed to read&amp;quot;, which can show Hesu’s superb translation level. During Kang-hee’s reign, the government strengthened the prohibition and destruction of the risque novel, but overall, from the first year of Shunzhi to Kangxi twenty-two years, due to the ban of imperial court was focused on political leanings remarkable work,  the denial and punishment for the risque novel were mild. According to the Shi Changyu textual research, only two novels were prohibited and punished in early Qing Dynasty, which were ''Silent Drama 2'' and  ''Sequel to the Plum in the Golden Vase''.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:23, 29 December 2021 (UTC)&lt;br /&gt;
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However, at the beginning of Manchu entered the Shanhaiguan Pass, the unification of the whole country had not been completed, and the emperor focused on military expedition and national reunification. Therefore, the government did not have much prejudice against Han novels and their translation in order to win the supports of the people. In the The Miscellaneous Records of Xiaoting, Zhao zhe said that He Su was proficient in translation. His translations of Jin Ping Mei and the story of The West Chamber were widely praised. The so-called &amp;quot;everyone competes for recitation&amp;quot; can illustrate this point. During the Kangxi period, although the imperial court increased the prohibition and destruction of pornographic novels, generally speaking, from the first year of Shunzhi to the 22nd year of Kangxi, the imperial court focused on works with salient political tendencies. Accordingly, it had little impact on the prohibition and punishment of pornographic novels. According to Shi Changyu's research, there were only two novels in the early Qing Dynasty that were investigated and punished by the imperial court, namely, Silent Drama II and The Sequel to Jin Ping Mei.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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但需要指出的是，《续金瓶梅》之所以获罪，其原因不在于它续写《金瓶梅》人物在所谓“后世”中的混乱生活，而是因为它将满族的发祥地描写为人、兽同居同食的野蛮地。因而，清初之际，朝廷对于淫词小说的接受，以及对于小说创作的限制，整体上仍然较为宽松。而《金瓶梅》的翻译、成书乃是康熙朝中后期的事，此时的朝廷对于“端风俗、正人心”有了日益深刻的认识，因而不仅强化了思想控制，而且加强了对于小说翻译与小说创作的管制。&lt;br /&gt;
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But what needs to be pointed out is that the reason why The Sequel of Jin Ping Mei was convicted is not because it continues the chaotic life of the characters in Jin Ping Mei in the so-called &amp;quot;later generations&amp;quot;, but because it describes the birthplace of the Manchu as a barbaric place where people and animals live and eat together. However, at the beginning of the Qing Dynasty, the government 's acceptance of pornographic novels was relatively high and the restrictions on novel creation was still relatively loose on the whole. While the translation and completion of Jin Ping Mei was in the middle and late reign of Kangxi. At that time, the imperial court had an increasingly profound understanding of &amp;quot;stick to the customs and purify people's hearts&amp;quot;, which not only strengthened the ideological control but the regulation of novel translation and creation.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:50, 28 October 2021 (UTC)&lt;br /&gt;
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However, it should be pointed out that the reason why &amp;quot;Continued Jin Ping Mei&amp;quot; was convicted was not because it continued the chaotic life of the characters in &amp;quot;Jin Ping Mei&amp;quot; in the so-called &amp;quot;post generations&amp;quot;, but because it described the birthplace of Manchu as the cohabitation of man and beast. The barbaric place of food. Therefore, at the beginning of the Qing Dynasty, the court's acceptance of pornographic novels and restrictions on novel creation were still relatively loose. The translation and completion of &amp;quot;Jin Ping Mei&amp;quot; was a matter of the middle and late Kangxi dynasty. At this time, the imperial court had a deeper and deeper understanding of &amp;quot;customs and morals&amp;quot;, which not only strengthened ideological control, but also strengthened the translation and interpretation of novels. The control of novel creation.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:21, 1 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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至乾隆初年，《金瓶梅》与《水浒传》等书因为诲淫诲盗的原因，又被“久干例禁”。满洲政权兴起于白山黑水之间，在其一路开疆辟土，驰骋向前的过程中，虽然统治者反复高唱“满汉一体”，但相关的政治、文化实践表明，这一说法不过是政治口号。作为满清政权恪守不变的政策，“首崇满洲”既是统治者立法、行政的基本原则，又是统治者处理民族关系、民族事务的圭臬。&lt;br /&gt;
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In the early years of Qianlong, books such as &amp;quot;Jin Ping Mei&amp;quot; and &amp;quot;Water Margin&amp;quot; were again banned for a long time, because of their Obscene. The Manchurian regime emerged between the white mountains and black waters. In the process of pioneering territory and galloping forward, although the rulers repeatedly sang &amp;quot;Man and Han as one unit&amp;quot;, relevant political and cultural practices have shown that this statement is nothing more than a political slogan. As a policy that the Manchu government adhered to unchanged, &amp;quot;first advocating Manchuria&amp;quot; was not only the basic principle of the ruler's legislation and administration, but also the ruler's standard for handling ethnic relations and ethnic affairs.&lt;br /&gt;
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In the early years of Qianlong, books such as &amp;quot;Jin Ping Mei&amp;quot; and &amp;quot;Water Margin&amp;quot; were again banned for a long time, because of their obscene and illegal content . The Manchurian regime emerged between the white mountains and black waters-- the landscape of northeast China. In the process of pioneering territory and galloping forward, although the rulers repeated&amp;quot;Man and Han as one unit&amp;quot;, relevant political and cultural practices have shown that it was nothing more than a political slogan. As the policy that the Manchu government stick &amp;quot;Manchuria First &amp;quot; was not only the fundamental principle of the ruler's legislation and administration, but also the standard for handling ethnic relations and affairs.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:12, 1 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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终清一朝，统治者始终坚持满洲之道，固守满洲本位，崇尚满族特权，维护满洲的典章制度和文化特征。对统治者而言，传承与发展民族文化的重要性不言而喻，它不仅关系到国家政权的性质和满族民族的凝聚力与向心力，而且关系到满族统治集团的优势地位、特殊利益，乃至满族作为民族共同体的生死存亡。为此，满清政府不仅长期坚持“国语骑射”的基本国策，而且通过书籍的审查与禁毁等极端措施，确保满族文化符号和思想传统的专制。&lt;br /&gt;
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In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges, and maintained Manchu institutions and cultural characteristics. For the rulers, the importance of inheriting and developing national culture was self-evident,which not only related to the Political Nature and the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of &amp;quot;national language and ride&amp;quot; for a long time, but also ensured the despotism of Manchu cultural and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 03:13, 29 October 2021 (UTC)&lt;br /&gt;
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In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges,maintained Manchu ancient laws and regulations as well as cultural characteristics. For the rulers, the importance of inheriting and developing national culture was an understood thing,which not only related to the nature of the state power, the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of &amp;quot;Mandarin Riding and Shooting&amp;quot; for a long time, but also ensured the despotism of Manchu culture symbol and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 10:25, 5 November 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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与此同时，统治者积极敕撰、敕译汉族书籍，虽然客观上吸收了汉族文化，但这些书籍的编纂与翻译亦如满洲文化的维护一样，只是满洲权贵巩固政权统治的策略与手段，一旦书籍的翻译与编纂有悖于统治者的主观期待，亦或是国家的统治之需，其审查与禁毁即在所难免。结语。作为除《三国演义》之外清初唯一刊印的汉文小说，《金瓶梅》的翻译与传播无疑离不开统治阶级的支持或者默认。&lt;br /&gt;
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At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their reign of power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, its censorship and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty, except ''The Romance of the Three Kingdoms'', the translation and dissemination of ''The Golden Lotus'' are undoubtedly inseparable from the support or acquiescence of the ruling class.&lt;br /&gt;
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At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their political power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, Its review and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty except the romance of the Three Kingdoms, the translation and dissemination of JinPingMei is undoubtedly inseparable from the support or acquiescence of the ruling class.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 04:49, 7 November 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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《金瓶梅》满文译本的印行不仅说明清代禁书政策的失败，而且说明该政策的虚伪。一方面，所谓汉书的禁毁往往只是针对民间，而统治者尤其是国家君主则往往享有豁免。正如其它汉籍汉书的翻译一样，《金瓶梅》的翻译与刊刻不可能游走在国家法律和政府禁令之外。&lt;br /&gt;
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The printing of the Manchu translation of 《JinPingMei》 not only shows the failure of the book ban policy in the Qing Dynasty, but also shows the hypocrisy of the policy. On the one hand, the so-called prohibition and destruction of the Han Dynasty is often only aimed at the people, while the rulers, especially the national monarchs, often enjoy immunity. Just like the translation of other Chinese books, the translation and publication of 《JinPingMei》 can not go beyond the national laws and government prohibitions.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:00, 7 December 2021 (UTC)&lt;br /&gt;
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The publication of Manchu translation of ''The Golden Lotus'' indicates not only the failure of the Policy of Banned Books in the Qing Dynasty, but also the hypocrisy of the policy. On the one hand, the ban on Han Books is often only aimed at the people, while the rulers, especially the monarchs of the country, often enjoy immunity. Same as the translation of other Chinese books, the translation and publication of ''The Golden Lotus'' cannot exist outside national laws and government bans.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:05, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
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		<title>20211020 homework</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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太宗曾多次谕令“金、汉之人都要读书”，认为发展文教裨益于国家治理，而翻译和讲解汉文书籍则是旗人教育中的重要环节。[] 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第13页。为推进旗人教育，给朝廷选拔人才，太宗又对汉人进行考试，“分别优取”，赏以银两或差事。&lt;br /&gt;
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The Emperor Taizong(Li Shiming) repeatedly ordered that the people of Jin and Han should be educated, believing that the development of culture and education is beneficial to national governance, and the translation and interpretation of Chinese books is an important part of education for Bannermen.(Luo Zhenyu. The Proposal From the Courtier During the Tiancong Period. Beijing : Renmin University Press, 1989, p. 13.). In order to promote the education of the Bannermen and select talents for the court, Emperor Li carried out examinations among the Han people to select the excellent and rewarded them with money or jobs.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:48, 20 October 2021 (UTC)&lt;br /&gt;
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Taizong has repeatedly ordered that &amp;quot;people of Jin and Han Dynasties should study&amp;quot;, believing that the development of culture and education is beneficial to national governance, and the translation and interpretation of Han books is an important link in the education of Manchu. [] Luo Zhenyu: Memorial of Tiancong courtiers, Beijing: China Renmin University Press, 1989, P. 13. In order to promote the education of the Manchu and select talents for the imperial court, Taizong also conducted an examination of the Han people, &amp;quot;selected the best respectively&amp;quot; and rewarded them with silver or errand.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 10:57, 20 October 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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太祖、太宗等人的支持使得清初之际的汉籍翻译蔚然成风，且旗人教育为之一变，为后来的旗学设立和旗学教育营造了条件。旗学之兴及其翻译人才培养之定位。顺治朝以后，随着政权推进和时局变化，入关之初所谓“满洲、蒙古、汉军皆通国语”的情况不复存在，新任官吏中因为语言不通导致政务受阻者，成渐长之势。&lt;br /&gt;
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The support of Taizu, Taizong and others made Han books’s translation popular in the early Qing Dynasty, and the education of Manchu changed, which created conditions for the establishment and education of Manchu. The flourish of Manchu studies and the orientation of translation talent training. After the Shunzhi Dynasty, with the advancement of the political power and the change of the current situation, the so-called &amp;quot;Manchuria, Mongolia and the Han army all know the national language&amp;quot; at the beginning of entering Han no longer exists. Among the new officials, those whose government affairs are blocked due to linguistic barrier have gradually grown.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 16:53, 16 October 2021 (UTC)&lt;br /&gt;
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The support of Taizu, Taizong and others made Han books’s translation popular in the early Qing Dynasty, and the education of Manchu changed, which created conditions for the establishment and education of Manchu. The flourish of Manchu studies and the orientation of translation talent training. After the Shunzhi Dynasty, with the advancement of the political power and the change of the current situation, the so-called &amp;quot;Manchuria, Mongolia and the Han army all know manchu language&amp;quot; at the beginning of Qing’s army entering Central Plains no longer exists. Among the new officials, those whose government affairs are blocked due to linguistic barrier have gradually grown.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:00, 20 October 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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尤其是地方督抚等汉籍官员，凡遇到国书文移，往往都不认识，只能委任“内三院”中通晓翻译的笔帖式，代为办理。[] 昭梿：《啸亭杂录》，北京：中华书局，1980年，第254页。但代为办理自有其弊，如“猜疑推诿”等，因而如何解决旗人读书，为国家培养语言人才，便成为当务之急。&lt;br /&gt;
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In particular, Chinese officials including local governors often don't know the imperial decrees declared by the Cabinet, so they can only appoint translators in the &amp;quot;three courts of Cabinet&amp;quot; to handle it on their behalf. (Zhao Lian: Records of Howling Pavilion, Beijing: Zhonghua Book Company, 1980, P. 254.) However, it has its own disadvantages, such as &amp;quot;suspicion and prevarication&amp;quot;. Therefore, how to solve the problem of studying for the people of Eight Banners and cultivate language talents for the country has become a top priority.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:44, 20 October 2021 (UTC)&lt;br /&gt;
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Expescially Chinese officials including the local governors often don't know the imperial decrees declared by the Cabinet, so they can only appoint translators in the &amp;quot;three courts of Cabinet&amp;quot; to handle it on their behalf. (Zhao Lian: Records of Howling Pavilion, Beijing: Zhonghua Book Company, 1980, P. 254.) However, it has its own disadvantages, such as &amp;quot;suspicion and prevarication&amp;quot;. Therefore, how to solve the problem of studying for the people of Eight Banners and cultivating language talents for the country has become a mergent task.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:41, 20 October 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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顺治元年，国子监祭酒李若琳（？-1651）上疏世祖，奏请效仿明初之制，扩大国子监的生员人数，为国家培养人才。摄政王多尔衮对此颁布圣谕，敕令不论满、汉官员，其子弟中有愿读清、汉书者，皆可入国子监学习。同年十一月，李若琳就太学事宜再次上奏，要求增补教官，并以“晷短途遥”为由，建议在各八旗辖地觅空房一所，设立书院，此即为八旗官学之始。[]&lt;br /&gt;
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In the first year of Emperor Shunzhi, Directorate of Imperial Academy Li Ruoling （？-1651）submitted memorials to the throne to imitate the institution of the early Ming Dynasty, expanding the number of people who went to the Imperial College and cultivating talents for the country. Prince Regent Duoergun issued an edict that whoever the officers of Man or Han, anyone of them can study in the Imperial Academy as long as they were willing to learn the books and classics of Qing and Han. In the same year of November, Li Ruoling submitted to the Emperor again on the issue of school, proposing to add more instructaors. Because of the short white day and long distance, she also proposed to build School on the vacant room of every jurisdictional areas, which was the beginning of eight banners of official school. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:38, 16 October 2021 (UTC)Chen Huini&lt;br /&gt;
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In the first year of Emperor Shunzhi（1644）, Directorate of Imperial Academy Li Ruoling （？-1651）submitted memorials to the throne to advise the imitation of institutions in the early years of Ming Dynasty.He suggested to larger the number of people who enrolled in the Imperial College and cultivate talents for the country. Prince Regent Duoergun issued an edict that whoever the officers of Man or Han, anyone of them can study in the Imperial Academy as long as they were willing to learn the books and classics of Qing and Han. In the same year of November, Li Ruoling submitted to the Emperor again on the issue of school, proposing to add more instructaors. Because of the short white day and long distance, she also proposed to build School on the vacant room of every jurisdictional areas, which was the beginning of eight banners of official school. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 10:18, 17 October 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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鄂尔泰等：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第112页。从顺治元年设立国子监八旗官学，到顺治九年设置宗学，再到康熙二十五年设立景山官学，以及雍正七年设立咸安宫官学，再到驻防各省八旗官学、义学和清文学等的相继设立，清代的旗学体系经历了从无到有，从零散到完备的发展过程。这些学校不仅教授涉及满洲根本及其文化特征的各种科目，如清语、骑射等，也教授翻译、汉书等科目，目的是在八旗满洲、蒙古和汉军中兴贤育才，将文、武学业综于一体，教导民族特质，并为朝廷培养治理人才，尤其是翻译专才。&lt;br /&gt;
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Eertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985:112）Since the construction of Guozijian Manchu Eight Banners Official School in 1644, many schools were built accordingly from Patriarchal school in 1653, Jingshan Official School in 1686, Xianangong Official School in 1729, to Provincial Manchu Eight Banners Official School, Yi School and Qing Literature School. School systems of Qing dynasty grew out of nothing and became perfect.These schools not only taught subjects rooting in Manchu culture like:Qing language, riding and shooting, but also taught translation and Han books.They aimed to encourage and educate talents and virtues, combine literature and martial arts, cultivate national features and develop officials with governability, especially with translation ability.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:23, 17 October 2021 (UTC)&lt;br /&gt;
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Ertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985, p. 112. From the first year of Shunzhi to set up the eight banners official school, to the ninth year of Shunzhi set up educational institutions for royal clan, to the 25th year of Kangxi set up Jingshan official school, as well as the seventh year of Yongzheng set up Xian'an Palace official school, and then stationed in the provinces of the eight banners official school, community-run schools charging no tuition and literature of Qing dynasty , etc.  The banner school system in the Qing dynasty has undergone the development process from nonexistence to pass into existence, from fragmented to complete. These schools not only taught a variety of subjects involving the fundamental and cultural characteristics of Manchuria, such as Qing language, archery, etc., but also taught translation, Han books and other subjects. The purpose was to raise talents in the eight banners Manchurian, Mongolian and Chinese army. It was a combination of literature, martial arts, teaching national characteristics, and for the imperial court to cultivate governance talent, especially translation expertise.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:47, 18 October 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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鄂尔泰等修，李洵、赵德贵点校：《八旗通志·初集》，长春：东北师范大学出版，1986年，第895页。旗学教育的兴起是政治考量和文化统制的产物，从一开始便有着明确的目标性和指向性。一方面，它是为了培养和提升旗人的语言能力与文化素质；另一方面，则是为了培养旗人从事满、汉或满、蒙翻译，以及处理国家政务的能力。&lt;br /&gt;
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Ertai et al., punctuation collated by Li Xun and Zhao Degui, &amp;quot;The Eight Banners - The First Collection&amp;quot;, Changchun: Published by Northeast Normal University, 1986, p. 895. The rise of banner education was a product of political consideration and cultural unification, and had a clear goal and direction from the beginning. On the one hand, it is to cultivate and improve the language ability and cultural quality of banners; on the other hand, it is to cultivate banners to engage in translation between Manchu and Chinese or Manchu and Mongolian, as well as the ability to deal with state affairs.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 08:47, 18 October 2021 (UTC)&lt;br /&gt;
Ertai et al., punctuation collated by Li Xun and Zhao Degui, &amp;quot;The General Annals of the Eight Banners - The First Collection&amp;quot;, Changchun: Published by Northeast Normal University, 1986, p. 895. The rise of the education of the Banners’ schools was a product of political consideration and cultural unification, and had a clear goal and direction from the beginning. On the one hand, it was to cultivate and improve the language ability and cultural quality of banners; on the other hand, it was to cultivate banners to engage in translation between Manchu and Chinese or Manchu and Mongolian, as well as the ability to deal with state affairs.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 02:24, 20 October 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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因而，和汉书翻译、翻译科考一样，旗学教育中也天然地植入了翻译课业与考课的成分。嘉庆四年，铁保奉敕修撰《八旗通志》，其中论及八旗官学的作用，认为旗学之重心在于儒家礼教，而非翻译，其中指出：至中人以上、以下，课以经义，则不能不从事于讲肄；从事于讲肄，则不能不读圣贤之书；读圣贤之书，则耳濡目染，渐至于心领神会，晓然于事理之是非。&lt;br /&gt;
Therefore, as in translation of books of the Han Dynasty and translation tests, the components of translation and examination were naturally implanted. In the fourth year of Jia Qing, a reign title of Qing Dynasty from 1796 to 1821, Tie Bao, in accordance with the emperor’s order, compiled ''the General Annuals of the Eight Banners'', which discussed the functions of official schools of Eight Banners, thought that the essential of Banners’ schools is Confucian etiquette, not translation. It pointed out: as for those with medium talents above or below, they had to learn the Confucian classics argumentation, then we must participate in lectures; if they wanted to participate in lectures, they had to read the book of sages; if they read the book of sages, they would be influenced by what one constantly sees and hears, and they would gradually understand the Confucian etiquette, then understand the truth of things right and wrong.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 02:20, 20 October 2021 (UTC)&lt;br /&gt;
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Therefore, as the translation of Han Books and translation tests, the components of translation lessons and examinations were naturally implanted in Banner Education. In the fourth year of Jia Qing, a reign title of Qing Dynasty from 1796 to 1821, Tie Bao, in accordance with the emperor’s order, compiled ''the General Annuals of the Eight Banners'' in which he discussed the functions of official schools of Eight Banners and thought that the core of Banner Education is Confucian etiquette rather than translation. He pointed out: as for those with medium talents above or below, they had to learn the Confucian classics argumentation and they must participate in lectures; if they wanted to participate in lectures, they had to read the book of sages; if they read the book of sages, they would be influenced by what one constantly sees and hears, and they would gradually understand the Confucian etiquette and quite distinguish the correctness and falsity of things. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:26, 20 October 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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事君必能知大义，临事亦必能知大体，即其限於材质，不能大成者，亦可娴于礼教，明於廉耻，凜然不敢妄为，而不失开国敦庞之旧俗。[]  铁保等：《钦定八旗通志》，台北：台湾商务印书馆，1983年，第2-3页。铁保的说法不是没有道理，但旗学目的与功能的转向，反映的不是旗学教育对于翻译教学的剥离与舍弃。&lt;br /&gt;
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One can show  his loyalty to the emperor he serves and pay attention to the interests of the whole when coping with matters. Though he could not obtain great achievements for his disability, he can be acquainted with courtesy and distinguish probity and corruption well. He definitely dare not do everything at his will, which is conducive to maintaining the old conventions since the foundation of this country. Tie Bao: ''King James Instituted the Eight Banners'', Taibei: Taiwan Commercial Press, 1983, P2-P3. Tie Bao’s argument is not unreasonable, but the shift of Banner Education’s purpose and function did not reflect the peeling and abandonment for translation teaching. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:05, 20 October 2021 (UTC)&lt;br /&gt;
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One can show his righteousness and pay attention to the interests of the whole when coping with matters. Though he could not obtain great achievements for his disability, he can be proficient with courtesy and distinguish probity and corruption well. He definitely dare not act recklessly and abandon the old conventions since the foundation of this country. Tie Bao: ''General Annal of the Eight Banners Made by Imperial Order'', Taibei: Taiwan Commercial Press, 1983, P2-P3. Tie Bao’s argument is not unreasonable, but the shift of Banner Education’s purpose and function had not reflected the stripping and abandonment from translation teaching. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 06:31, 20 October 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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恰恰相反，旗学教育之所以偏重儒教而非翻译，正是因为长期以来旗学教育中重视汉族文化与汉籍翻译的传统所致。换言之，正是因为旗学中长期使用汉籍满文译本作为教学内容，使得八旗官学生逐渐被汉族文化浸染，导致思维取向和价值观念发生变化。同时，频密、深刻的民族交往使得满族旗人的汉语能力日益提升，翻译能力因之渐长，而无需在旗学教育中专门培养。&lt;br /&gt;
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On the contrary,the reason why the education of Manchu focused on Confucianism rather than translation is that  for a long time it had attached Chinese cultures and translation of Chinese books as importance. In other words,long using translation of Chinese books by Manchu as teaching contents, the officers of the Manchu Eight Banners and students had been gradually influenced by Chinese cultures,which has resulted in the changes of thinking orientation and values of theirs. Meanwhile,the frequent and deep communication between Han and Manchu had contributed to the gradual enhancement of Chinese skills and translation ability of the Manchu Eight Banners, without being taught by the special education of Manchu.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:17, 19 October 2021 (UTC)&lt;br /&gt;
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On the contrary,the reason why the education of Manchu focused on Confucianism rather than translation is that  for a long time it had attached Chinese cultures and translation of Chinese books as importance. In other words,long using translation of Chinese books by Manchu as teaching contents, the officers of the Manchu Eight Banners and students had been gradually influenced by Chinese cultures,which has resulted in the changes of thinking orientation and values. Meanwhile,the frequent and deep communication between Han and Manchu had contributed to the gradual enhancement of Chinese skills and translation ability of the Manchu Eight Banners, without being taught by the special education of Manchu.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:06, 20 October 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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但不可否认的是，旗学作为整体仍与翻译有着千丝万缕的关系。如清太祖努尔哈赤十三世孙爱新觉罗瀛生（1922-2013）在总结旗学教育时指出的那样，旗学中的官学生除了学习满语语法之外，也需要学习大量汉文典籍（满文译本），如满汉合璧本的《三字经》和《四书》等，其实质内容与汉族教育并无不同，这么做即是为了使学生兼通满、汉，熟读经史，掌握翻译之术，为朝廷所用。[] 爱新觉罗瀛生：《谈谈清代满语教学》，《满族研究》，1990年第3期，第43-49页。&lt;br /&gt;
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What isn’t refutable is that the education of Manchu, on the whole was inextricably linked to the translation. For instance, just as Arising Gioro Yingsheng, the thirteenth grandson of Nurhaci made a summary about  the education of Manchu, the offspring of the officials were supposed to learn the Manchu grammar, besides a number of Chinese classics(the Manchu versions ), for example, Three Character Primer or Four Books edited with Chinese and Manchu. Indeed, the education of Manchu, to the great extent, was much the same as Han education, the purpose of which was to equip the students with the abilities of mastering the Manchu and Chinese, profound understanding of Chinese classics, and got the political career. Arising Gioro Yingsheng: Simple Analysis of Manchu teaching in Qing Dynasty, Manchu Research. From page 43-49, the third issue in 1990. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 04:41, 20 October 2021 (UTC)&lt;br /&gt;
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But what is undeniable is that the education of Manchu on the whole is still inextricably linked to translation. Just as Aixinjueluo Yingsheng(1922-2013), the thirteenth generation of Nuerhachi,  made a summary about the education of Manchu, in addition to learning the Manchu grammar, official students also need to learn a lot of Chinese classics(Manchu translation). For example, “Three-Character Canon” and “The Four Books” edited in combination of Chinese and Manchu, to the great extent, was much the same as the education of Han. This is to enable students to understand both Manchu and Chinese, familiarize themselves with scriptures and history, and master the skills of translation, so as to serve for the imperial court. [] Aixinjueluo Yingsheng: “ Simple Analysis of Manchu teaching in Qing Dynasty, Manchu Research. From page 43-49, the third issue in 1990.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:54, 20 October 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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满洲入主中原之后，统治上采取旗、民分治的形式，维护统治阶级的政治优势。为了巩固新生政权，虽然统治者不得不在满、汉之间寻找平衡点，审慎考量汉族士子和汉民利益，以免因为失去民心而危及稳定，但为了维护统治集团的特殊地位，又不惜牺牲汉人利益。而创办官学，倡导国语骑射，正可以保持满洲的民族特质，抵御汉文化冲击。&lt;br /&gt;
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After Manchu entered and hosted the central China,  the ruling classes took a divided governance of Manchu and Han to maintain their political dominance. In order to consolidate the new political power, rulers had to to find a balance between Manchu and Han, and deliberate for both Han scholars and ordinary people’s interests, so as not to lose the hearts and minds of the common people which would endanger the stability of the governance. But they had no choice but to sacrifice the interests of Han people, in order to safeguard the special position of the ruling classes. However, the establishment of office schools and the promotion of Manchu language , horsemanship and marksmanship just could maintain the national characteristics of  Manchu and resist the impact of Han culture.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:53, 16 October 2021 (UTC)&lt;br /&gt;
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After Manchu entered and hosted the central China, the ruling class took a divided governance of Manchu and Han to maintain their political dominance. In order to consolidate the new political power, the ruler had to find a balance between Manchu and Han, deliberating for the interests of both Han scholars and ordinary people so as not to endanger the stability of the governance for losing the hearts and minds of the common people. However, to safeguard the special position of the ruling class, they had no choice but to sacrifice the interests of Han people. And the establishment of official schools and the promotion of Manchu language, horsemanship and marksmanship could help maintain the national characteristics of Manchu and resist the impact of Han culture.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:26, 18 October 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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兴办旗学，使八旗人等兼通满、汉，既学习语言，又学习骑射，兼习翻译，一则可以沟通政事，二则可以学习汉制，可谓一举多得。正是由于有了这样的功能设定，旗学教育自其创设之日起，便与翻译结下了不解之缘。以宗学为例，该学初设时，只对满洲教习、满语学习做了规定，而未对汉语进行要求，但统治者从国家治理的需要出发，仍对宗室的翻译能力留有期待。&lt;br /&gt;
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The promotion of the Eight Banner official education enabled such people as the Eight Banners to master both Munchu and Chinese, learn riding and shooting and the intertranslation of munchu and Chinese. It could not only contribute to the consultation of political affairs, but also the learning of Han policies, which was literally killing two birds with one stone. It’s exactly due to such functions that the Eight Banner official education has been inextricably bound to translation. Take the education institution for royal clans for example. When it was first established, the institution only made rules with regard to staff recruitment and Munchu language learning, whereas no requirement was made of Chinese learning. However, the ruler, given the need of national governance, still expected members of the royal clan could develop their competence in translation.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:24, 18 October 2021 (UTC)&lt;br /&gt;
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The promotion of the Eight Banner official education enabled such people as the Eight Banners to master both Munchu and Chinese, learn riding and shooting and the intertranslation of munchu and Chinese. It could not only contribute to the consultation of political affairs, but also the learning of Han policies, which achieve many things at one stroke. It’s exactly due to such functions that the Eight Banner official education has been inextricably bound to translation. Take the education institution for royal clans for example. When it was first established, the institution only made rules with regard to staff recruitment and Munchu language learning, whereas no requirement was made of Chinese learning. However, the ruler, starting from the needs of national governance, still has expectations for the translation ability of the royal clan.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:05, 19 October 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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《清朝文献通考》中说，宗室子弟不仅要“咸涵于礼仪道德之途”，“讲明与伦纪纲常之大”，而且应该“服习于书射翻译之业”。[] 刘锦藻：《清朝文献通考》，杭州，浙江古籍出版社，2000年，第5437页。又以八旗蒙古官学为例，该官学虽于雍正六年停办，但吏部在给出的裁撤理由中，也明确提及蒙古官学生和监学生等均需学习翻译，并认为这一点与国子监官学中蒙古官学生的学习内容相同，因而“实属多设”。[]&lt;br /&gt;
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In the comprehensive studies of Qing documents, it is said that the children of the imperial clan should not only &amp;quot;be well-educated, immerse in etiquette and morality&amp;quot;, &amp;quot;be civilized, take the Principal Relationships and Constant Virtues as the most important&amp;quot;, but also &amp;quot;learn to read, shoot an arrow and translate&amp;quot;. [] Liu Jinzao, Comprehensive studies of Qing documents, Hangzhou, Zhejiang ancient Books publishing house, 2000, p. 5437. Taking the “Eight Banners” Mongolian official school as an example, although it was suspended in the sixth year of Yongzheng, the Ministry of Appointments also explicitly mentioned in the reasons for the abolition that Mongolian official students and students of the Imperial Academy were required to learn translation, and thought that this was the same as the learning content of Mongolian official students in the directorate of Imperial Academy, so it was &amp;quot;multi-set&amp;quot;. []--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 03:09, 18 October 2021 (UTC)&lt;br /&gt;
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In ''A Comprehensive Studies on Qing Dynasty Literature'', it was said that the offsprings of the imperial family should not only be “well-educated and immerse in etiquette and morality” and “prioritizing manners and moral principles”, but also be engaged in “reading, archery and translation”  [Liu Jinzao, ''A Comprehensive Studies on Qing Dynasty Literature'', Hangzhou, Zhejiang Chinese Ancient Classics Publishing House, 2000, p. 5437.] Example was taken that the Eight Banners Mongolian Official Academy was though suspended in the sixth year in the reign of Emperor Yongzheng, for it was redundant, according to the Ministry of Official Personnel Affairs, in that translation was a required course in both Mongolian official Academy and Imperial Academy.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 15:27, 19 October 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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鄂尔泰等：《清实录·世宗宪皇帝实录》，北京：中华书局，1985年，第1089页。清军入关之后，随着政权范围的日益扩大，驻防体系随之变动。但就旗学体系而言，除特殊区域因特殊目的设置旗学之外，其余旗学基本定在京畿，其作用主要是为了教导在京八旗子弟，而驻防各地设学并不普遍，导致驻防八旗弟子无法与京师旗人子弟一样，获得同样的教育机会。&lt;br /&gt;
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[Er Ertai etc. ''Records of the Qing Dynasty—Records of Emperor Shizongxian'', Beijing: Zhonghua Publishing House, 1985, p.1089. ] Since the Qing army crossed the Shanhai Pass, its garrison system changed accordingly with its increasing scope of the regime. However, in terms of the Banner School system, Schools were established basically in the Capital City and its Environs, except for special areas where the Banner Schools were set up for special purposes, for the Banner School was mainly to teach the Eight Banners and their offsprings in Beijing. But the Eight Banners in other territories could not have the same education opportunity as their clansmen in Beijing and its Environs because the Banner School was not common in other territories.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:43, 17 October 2021 (UTC)&lt;br /&gt;
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[E Ertai etc. ''Records of the Qing Dynasty—Records of Emperor Shizongxian'', Beijing: Zhonghua Publishing House, 1985, p.1089. ] Since the Qing army entered the Shanhai Pass, with the increasing scope of the regime, its garrison system changed. But as to the Banner school system, except the schools established for special aims in special areas, the rests were basically set up in the Capital City, whose function was mainly to educate offsprings of the Eight Banners in Beijing. While schools were scarcely set up in the garrisons, resulting in that the offsprings outside Beijing could not get the same educational opportunity as the offsprings of the Eight Banners in Beijing.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 04:47, 18 October 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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即便如此，驻防各地旗学中，仍有不少明确规定教习翻译。如康熙三十二年设防的荆州，于乾隆二十四年兴建学舍，设置八旗两翼义学，后又于乾隆四十五年添设各旗义学一所，并专设八旗翻译义学一所。绥远城于乾隆二年设防，乾隆八年兴建学舍，除设立义学八所各十二间之外，也设立满、汉翻译学一所共十间。&lt;br /&gt;
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Even so, lots of the Banner schools of the garrisons still clearly specified that translation should be taught and learned. For example, in Jingzhou, garrisoned in the 32nd year of the reign of Kangxi, there were many schools built in the 24th year of the reign of Qianlong and free schools for the Eight Banners set. Later, every banner added a free school in the 45th year of the reign of Qianlong, and specially established a free school of translation for the Eight Banners. In the city of Suiyuan, fortified in the 2nd year of the reign of Qianlong, there were numerous schools in the 8th year of the reign of Qianlong. Besides the establishment of eight free schools with 12 rooms respectively, there was also a school for translation between Manchu and Chinese with 10 rooms established.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 04:36, 18 October 2021 (UTC)&lt;br /&gt;
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Even then there were lots of places requiring translation study among those Banner’s station. For example, Jingzhou which was militarized in the 32th year of the reign of Kangxi then built many schools in the 24th year of the reign of Qianlong, especially public schools for all eight banners. Later every banner set up a new public school, and another for the  translation of Eight Banners in the 45th year of the reign of Qianlong. Suiyuan Ctiy, militarized in the second year of the reign of Qianlong, secured many schools in the 8th year of the reign of Qianlong. Except for the 8 public schools with 12 classrooms for every banner, there were another 10 classrooms for translation of Man and Han. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 06:30, 19 October 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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伊犁古扎尔城（即宁远城）于乾隆二十六年设防，乾隆三十四年兴建学舍，设各旗满、汉学房四间，并设满、汉翻译蒙古学舍一所共九间。清初之际朝廷究竟在各省驻防之地设立官学多少，实难考证。其中原因，与《八旗通志》和《钦定八旗通志》等主要文献中的记载不详有关。&lt;br /&gt;
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The city, Guozard（Ning Yuan）in Ili was fortified in the 26th year of the reign of Qing  Emperor Qianlong；there were lots of schools built in the 34th year of the reign of Qing  Emperor Qianlong, four for learning Man and Han’s culture, nine for learning Man and Han’s translation into Mongolian. It was difficult to verify how much administrative institutions and schools were built in early Qing Dynasty because of the lack of information in major classical books like the General History of the Eight Banners and Qinding Baqi Tongzhi.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 06:49, 17 October 2021 (UTC)&lt;br /&gt;
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Guerzha city（Ningyuan）in Ili was fortified in the 26th year of the reign of Emperor Qianlong. There were lots of schools built in the 34th year of the reign of Qing  Emperor Qianlong, four for learning Man and Han’s culture, nine for learning Man and Han’s translation into Mongolian. It was difficult to figure out how many official educational institutions were built in early Qing Dynasty because of the lack of detailed information in classical books like the General Annals of the Eight Banners and the authorized version of the book.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:47, 17 October 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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例如，《八旗通志》中，对于湖北荆州兴建学舍与官学一事只字未提，但在希元修纂的《荆州驻防八旗志》（《续修四库全书》第859册）中，则记有乾隆四十五年长泰（右翼蒙古协领）奏设满、汉官学、义学，以及八旗翻译学之事。[] 希元等：《荊州驻防八旗志》，上海：上海古籍出版社，1997年，第473页。虽然驻防各地旗学名称不一，其中有名官学者，也有名义学者，更有名翻译义学者，但教学内容上有着极大的相似性，其紧要者无非语言（清语、汉语、蒙语）、骑射，以及翻译。&lt;br /&gt;
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For example, there was nothing about school building in Jingzhou, Hubei Province in the General Annals of Eight Banners. However, it was recorded that in the 45th year during the reign of Emperor Qianlong, Changtai (right-wing Mongolian general) advised to build schools imparting knowledge about Man's culture and Eight Banners' translation, official educational institutions with Han's pattern and public schools. And this record was written in the Annals of Eight Banners' Garrison in Jingzhou proofread by Xiyuan. (《Complete Library in the Four Branches of Literature(revised edition)》Book 859)[Xiyuan et al: 《the Annals of Eight Banners' Garrison in Jingzhou》, Shanghai: Shanghai Ancient Books Publishing House,1997,page 473] Although the names of schools for Eight Banners were called differently such as official educational institutions, public schools and even translation public schools, varying with different garrisons, these schools shared extremely similar courses content. And they focused on language (language used by Qing, Han people and Mongolian), horseback archery and translation.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:39, 17 October 2021 (UTC)&lt;br /&gt;
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For example, there exists nothing about building schools and official schools in Jingzhou, Hubei Province in ''the General Annals of Ba Qi''. However, it was recorded that in the 45th year during the reign of Emperor Qianlong, Changtai (right-wing Mongolian general) advised to build schools imparting knowledge about Man's culture and Ba Qi's translation, official educational institutions with Han's pattern and public schools. And this record was written in ''the Annals of Ba Qi's Garrison'' in Jingzhou proofread by Xiyuan. (''Complete Library in the Four Branches of Literature(revised edition)Book 859'')[Xiyuan et al: ''the Annals of Eight Banners' Garrison in Jingzhou'', Shanghai, Shanghai Ancient Books Publishing House,1997,p. 473] Although the names of schools for Ba Qi were called differently such as official educational institutions, public schools and even translation public schools, varying with different garrisons, these schools shared extremely similar course contents. And they focused on language teaching (language used by Manchu, Han people and Mongolian), horseback archery and translation.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:12, 20 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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1.旗学教育与翻译教学契合的典范：绥远城官学。乾隆六年十二月初六日，绥远城扬威将军补熙等奏请设立满、蒙学馆，教育兵丁子弟。奏章指出，绥远城地处偏远，咨报、文移和案件审理等政务活动均用满、蒙文字，如果不加以教习，则政令之推行难以为继。A model of the combination of Manchu education and Translation Teaching is the Official School in Suiyuan City. On the sixth day of December (lunar calendar) in the sixth year of Emperor Qianlong's reign, General Bu Xi and others in Suiyuan City asked to set up Manchu and Mongolian schools to educate the children of soldiers. The memorial pointed out that Suiyuan City is located in a remote area, and government activities such as consultation, document transfer and case trial all use Manchu and Mongolian characters. If the children are not taught, the implementation of government orders will be unsustainable.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:04, 20 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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A model of integration of Manchu education and Translation Teaching is the Official School of Suiyuan City. On the sixth day of December (lunar calendar) in the sixth year of Emperor Qianlong's reign, General Bu Xi and others in Suiyuan City asked to set up Manchu and Mongolian academies to educate the children of soldiers. The memorial to the throne pointed out that Suiyuan City is located in a remote area, and government activities such as consultation, document transfer and case trial all use Manchu and Mongolian characters. If the children are not taught, the implementation of government orders will be unsustainable.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 02:53, 20 October 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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虽然此前经皇帝御批，并着军机处大臣等议奏，同意从归化城（呼和浩特）都统衙门中挑选二人，派往绥远城，专司翻译、书写蒙古文字，但军机处并没有同意设立满、蒙学馆，以教习满、蒙语言文字。然而，补熙认为，绥远城咨行各地方官府的差务甚多，而移驻兵丁均来自包衣，通晓满、蒙者实属寥寥，如不能设立学馆，教习旗人子孙，则现役旗人兵丁亡故后，满、蒙语言文字无以为继。这一点不仅于满洲旧俗不合，而且遇有政务时，会无人差遣。&lt;br /&gt;
Although approved by the emperor and discussed by the minister of Office of Military Secret，they agreed to select two people from the Provisional Government of Guihua City(Hohhot) and send them to Suiyuan City to be responsible for the translation and writing of Mongolian characters, the Office of Military Secret didn’t agree to set up Manchu and Mongolian academies to teach Manchu and Mongolian characters and languages.However,Buxi believed that advisors of local governments of Suiyuan City had a lot of work to do,and the soldiers stationed in the city were all born in Baoyi family(servant),so few of them knew Manchu and Mongolian characters well.If they could not set up academies to teach the descendants of the people of Baqi,the Manchu and Mongolian languages would disappear after the death of the soldiers in active service.This is not only inappropriate manchurian old customs,and no one can be send when meeting government affairs.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 09:26, 18 October 2021 (UTC)&lt;br /&gt;
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Although approved by the emperor and discussed by the minister of Ministry of Defense，they agreed to select two people from the Provisional Government of Guihua City(Hohhot) and send them to Suiyuan City to be responsible for the translation and writing of Mongolian characters, the Office of Military Secret didn’t agree to set up official schools of Manchu and Mongolian to teach Manchu and Mongolian characters and languages.However,Buxi believed that advisors of local governments of Suiyuan City had a lot of work to do,and the soldiers stationed in the city were all born in Baoyi family(servant),so few of them knew Manchu and Mongolian characters well.If they could not set up academies to teach the descendants of the people of Baqi,the Manchu and Mongolian languages would disappear after the death of the soldiers in active service.This is not only inappropriate manchurian old customs,and no one can be send when meeting government affairs.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:12, 20 October 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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补熙所奏虽名为满、蒙选馆，实则为满、蒙翻译官学，意在培养翻译专才，处理以满、蒙文字书写的文移，或者以上述两种文字推行的政务。同年十二月十八日，即补熙奏陈之后不出半月，大学士兼军机处大臣鄂尔泰上疏皇帝，议准设立满、蒙官学，拟敕交吏部，由吏部从蒙古旗革职人员中拣选通晓满、蒙文字者二人，委任其以巴克什身份进行教学。&lt;br /&gt;
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What Bu Xi, a vice director of the Court of Colonial Affairs, submitted to the emperor referred to the government officials selected from Manchu and Mongolian nationality on the surface, but in fact, the official school which was engaged in translation between the two languages. It aimed to train professional translators so as to deal with official documents or the government affairs written in Manchu and Mongolian. No longer after Buxi submitted a written statement, Ertai, the Bachelor and  Minister of The Grand Council, submitted his proposals to the emperor on December 18th of the same year. It was agreed that the official school would be established and the order of the emperor will be handed in to the official department. It was responsible for the official department to select two ones who were good at Manchu and Mongolian from the demobilized personnel of Mongolian Banner and who was appointed to teach them as Barksh.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 10:21, 17 October 2021 (UTC)&lt;br /&gt;
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What Buxi, the vice director of the Court of Colonial Affairs, submitted to the emperor referred to the government officials selected from Manchu and Mongolian nationality on the surface. In fact, it referred to the official school which was engaged in translation between the two languages. It aimed to train professional translators so as to deal with official documents or the government affairs written in Manchu and Mongolian. No longer after Buxi submitted a written statement, Ertai, the Grand Secretary and Minister of The Grand Council, submitted his proposals to the emperor on December 18th of the same year. It was agreed that the official school would be established and the order of the emperor will be handed in to the official department. It was responsible for the official department to select two ones who were good at Manchu and Mongolian from the demobilized personnel of Mongolian Banner and who was appointed to teach them as Barksh.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:14, 20 October 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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乾隆帝批复“依议。钦此”，于是绥远城翻译官学得以设立。[] 中国第一历史档案馆（郭美兰编译）：《乾隆朝绥远城设立八旗官学满文档案》，《历史档案》，2012年第2期，第47页。乾隆八年九月初三日，补熙和副都统纳明等奏请设立蒙古学，以便翻译文移资用。&lt;br /&gt;
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Emperor Qianlong gave a written reply, ''consent and implement now'', so the translation official school of Suiyuan city was established. [] The First Chinese Historical Archive (translated and edited by Guo Meilan): ''Manchu Archives of Eight Banners Official Schools Established in Suiyuan City During the Qianlong Dynasty'', ''Historical Archives'', 2012(02): p47. On September 3,the 8th year in the period of Emperor Qianlong, Buxi and the deputy lieutenant-general Naming, etc. reported to the emperor for the establishment of Mongolian studies and then they could have funds to translate documents.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 08:16, 17 October 2021 (UTC)&lt;br /&gt;
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Emperor Qianlong gave an official written reply, ”Consent and implement. By command of the Emperor”, so the translation official school in Suiyuan city was established. [] The First Historical Archives of China (translated and edited by Guo Meilan): ''Manchu Archives of Eight Banners Official Schools Established in Suiyuan City During the Qianlong Period of Qing Dynasty'', ''Historical Archives'', 2012(02): p47. On September 3, the 8th year in the period of Emperor Qianlong, Buxi and deputy lieutenant-general Naming, etc. submitted memorials to the emperor for establishing Mongolian studies which could be conductive to documents and affairs.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:25, 18 October 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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补熙认为，绥远城地处旷野，政务繁多，若只设官学（满蒙官学），恐为不够，且教习由京城择员派往，也与省城之例不合。关于教习满文一事，补熙奏称已照军机处先前所议，由各旗自行组织，教习之遴选并不困难，而所难者在于蒙古文的教习。原因在于，虽然绥远城内有会蒙古语者，但其语言能力不足以充任教习之责。&lt;br /&gt;
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The official Bu Xi believed that Suiyuan city had a remote location but heavy government affairs, so it was not enough to set up the official school of Manchu and Mongolia only. And teachers sent from Central Government were unfamiliar with specific circumstances of Suiyuan city. As for teaching language of Manchus, Bu Xi submitted memorials to the emperor that each banner would have a self-organize according to the previous resolution of Privy Council. The difficulty was not the selection of teacher but teaching Mongolian, since the language competence of Mongolian speakers in Suiyuan city was insufficient for teaching.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:23, 18 October 2021 (UTC)&lt;br /&gt;
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The official Bu Xi believed that since Suiyuan city was located in a remote place and burdened with heavy government affairs, it was not enough to set up the official school of Manchu and Mongolia only. And teachers dispatched from Central Government were unfamiliar with specific circumstances of Suiyuan city. As for teaching the language of Manchus, Bu Xi has submitted memorials to the emperor that each banner would self-organize in light of the previous resolutions of Privy Council. The difficulty lied not in the selection but the teaching of the Mongolian language, as Mongolian speakers in Suiyuan city were not competent for teaching the language.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 00:42, 20 October 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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奏陈云：查，归化城土默特二旗，每旗各设学校一所，教习兵丁子弟翻译满蒙语文，每月支给巴克什等各银一两五钱，学生每日每人支给制钱十文。此项开支之银钱，由其所得房租银内动支。于雍正元年奏准施行，如今甚有裨益。&lt;br /&gt;
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Then he proposed to Chen Yun, that a school should be respectively instituted in the two areas of Cha and Tumot, to teach the soldiers and warriors to translate the language of Manchu and Mongolia, and every month each school should be granted 15 Qian (about 1500 to 2250 Wen) and each student should be granted 10 Wen every day. And this bill could be paid by the rents of the houses constructed by them.  Officially carried out in the first year of Yong Zheng's reign, this programm was still of great benefits.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 06:49, 17 October 2021 (UTC)&lt;br /&gt;
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Chen Yun propose that a school should be respectively instituted in the two areas of Cha and Tumed, that soldiers should lear to translate the language of Manchu and Mongolia, and that every month teachers should be granted 15 Qian (about 1500 to 2250 Wen) and each student should be granted 10 Wen every day. And this bill could be paid by the rents of their houses.  Officially carried out in the first year of Yong Zheng's reign, this programm is still of great benefits.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:03, 20 October 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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窃思，臣等管带官兵驻防口外蒙古旷野地方，与各扎萨克往来文移甚多，蒙古语文极为重要，现若不设立蒙古学，拣选巴克什施教，蒙古语文必将无以为继。请准我属绥远城亦照归化城土默特设立旗学之例，每翼各设学馆一所，由土默特二旗内挑选 通晓蒙古语文且能翻译者两人作为巴克什，每学视兵丁子弟之俊秀挑取十名教育。至巴克什、学生应得之项，照土默特旗之例，均由本城公用房租银钱内动支销算。&lt;br /&gt;
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I think that officials and solders garrison the vast Mongolia which is outside the Great Wall, and that they have a lot of correspondence with county magistrates. The teaching of Mongolian is therefore very important. If the study of Mongolian isn’t set up, and that there is no knowledgeable literati who is familiar with Mongolia, this study won’t be passed on. Please allow Suiyuan City also as the same of Tumed of Guihua City to set up official studies, establish a school respectively in each army, and select two persons who have a good knowledge of Mongolian and can translate from two Tumeds as teachers. Every semester, we select 10 outstanding young soldiers to educate. As for the rewards of teachers and students, according to the banner of Tumed, they are reimbursed by the common rent money of the city.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:29, 20 October 2021 (UTC)&lt;br /&gt;
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I thought that officials and solders garrisoned the vast Mongolia which was outside the Great Wall, and that they had a lot of correspondence with county magistrates. The teaching of Mongolian was therefore very important. If the study of Mongolian wasn’t set up, and that there was no knowledgeable literati who was familiar with Mongolia, this study won’t be passed on. Please allow Suiyuan City also as the same of Tumed of Guihua City to set up official studies, establish a school respectively in each army, and select two persons who had a good knowledge of Mongolian and can translate from two Tumeds as teachers. Every semester, we selected 10 outstanding young soldiers to educate. As for the rewards of teachers and students, according to the banner of Tumed, they were reimbursed by the common rent money of the city.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:58, 20 October 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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又查，现经军机大臣等议准，为撰拟翻译本城咨行各扎萨克之文移，由归化城土默特旗兵丁内选取两人在司行走。唯彼等不食饷米，每日来本城应差，倘不酌赏饭茶之份，贫苦蒙古委实难以当差。请亦照户部所定本地同知、通判衙门支给撰拟满蒙文移之土默特蒙古等饭食银之例，每月支给银五钱。&lt;br /&gt;
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After the second examination, now, with the approval of the grand minister of state, we will select two soldiers in the Tumote Qi of the Guihua city working in this area in oder to compile and translate the compositions in this city. However, only you went to our city applying for the job without eating food and even no tea and something else. In this way, it was really difficult for you in poor Mongolia. Please following the stipulation stated by the Ministry of Revenue in feudal China,  we should pay five yuan a month as their wage for food to the people who wrote the Manchu-Mongolian language translation according to the example of local Tongzhi office and Tongan Yemen.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 05:59, 17 October 2021 (UTC)&lt;br /&gt;
After the second examination, with the approval of the grand ministers , we selected two soldiers in the Tumote department  of the Guihua city to work  in this area in oder to compile and translate the compositions in this city. However, only you went to our city applying for the job without asking salary and not to say  tea and something else. In this way, it was really difficult for you to make a live in such poor Mongolia. Please follow the stipulation stated by the Ministry of Revenue in feudal China.We should pay five strings of silver coins a month as their wage  to the people who wrote the Manchu-Mongolian language translation according to the example of local Tongzhi office and Tongan Yemen.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:22, 19 October 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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俟本城学习之人能翻译蒙古语文后，将土默特旗两名兵丁仍行遣回本旗。倘蒙圣主恩准施行，不仅臣等办理口外诸务无误，且大有裨益。[] 中国第一历史档案馆（郭美兰编译）：《乾隆朝绥远城设立八旗官学满文档案》，《历史档案》，2012年第2期，第47-48页。&lt;br /&gt;
Since scholars of the city could  translate Meng character, two soldiers of Tu Moteqi were recalled to the original department.If Emperor have allowed the implement, not only could the ministers deal with affairs correctly, but also it would be greatly helpful.[The First Historical Archives of China (translated and compiled by Guo Meilan): Archives in QianLong Dynasty of Sui Yuan City,Historical Archives, The Second Phase in 2012, Page47-48] --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 06:14, 19 October 2021 (UTC)&lt;br /&gt;
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Two soldiers of Tumed Banner will be sent back to their own banner as soon as those studying in the city can translate the Mongolian language. If granted by the Grace of The Lord, it will not only be right, but also beneficial. [] The First Historical Archives of China (compiled by Guo Meilan) : Manchu Archives of eight Banners Official School set up in Suiyuan City during The Qianlong Dynasty, Historical Archives, no.2, 2012, pp. 47-48.&lt;br /&gt;
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--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 11:02, 20 October 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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以“地处口外蒙古旷野”、“文移甚多”作为设立绥远城旗学的理由，这一点不只适用于此奏中提及的蒙古学，而且也适用于乾隆六年奏设的绥远城翻译官学，又名满、蒙官学。此折中，补熙不仅提到雍正年间于归化城土默特二旗设立旗学，教习兵丁子弟翻译满、蒙语言文字的事，而且建议朝廷允许绥远城效仿归化城之例，设立蒙古学，从巴克什中考选教习二人，但该教习必须通晓满、蒙文字，且精于翻译，并照土默特之例给予教习薪酬，同时给予学生生活补贴。&lt;br /&gt;
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To &amp;quot;located in the outer Mongolian wilderness&amp;quot;, &amp;quot;a lot of text shift&amp;quot; as the reason for the establishment of the Yanyuan City flag school, this not only applies to the Mongolian studies mentioned in this play, but also applies to Qianlong six years of the Yuyuan City translation officer, also known as full, Mongolian official studies. In this compromise, Tsushi not only mentioned the establishment of the flag school in the naturalized city of Tummert during the Yuzheng years, teaching the teachers and children to translate full, Mongolian language and writing, but also suggested that the court allow the city to follow the example of naturalized city, the establishment of Mongolian studies, from Bakshi to choose two people, but the teaching must be familiar with full, Mongolian script, and fine translation, and according to the example of the local special to give teaching and teaching pay, while giving students living allowance.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 03:49, 19 October 2021 (UTC)&lt;br /&gt;
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The reason for the establishment of suiyuan City banner School is that &amp;quot;it is located in the Mongolian wilderness outside the mouth&amp;quot; and &amp;quot;there is a lot of literary movement&amp;quot;, which is not only applicable to the Mongolian studies mentioned in this play, but also applicable to suiyuan City Translation official school, also known as Manchu and Mongolian official School, which was played in the sixth year of Qianlong. Fill this compromise, the city is not only mentioned the yongzheng years in GuiHuaCheng tumed flag flag and establishing learning, teaching and the soldiers' children is full, the language of the translation, and suggested that the court permits suiyuan city to follow the example of GuiHuaCheng, set up the Mongolian learning, from buck assorted tests to choose the two teaching, but the teaching must be familiar with text, manchu, Mongol and skilled in translation, and tumed as the example to give teacher pay, At the same time, students are given living allowances.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:24, 20 October 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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至于绥化城咨送各下辖地之文移，经军机处议准，皆循例由土默特旗兵丁中，选取通晓满、蒙语者二人进行翻译和撰拟，但此二人并未获得朝廷酬佣。因此，补熙一并奏请按土默特翻译满、蒙文字者之例，给予每月银五钱的饷米。同年九月十三日，乾隆帝朱批“依议。该部知道。钦此。”，同意了补熙所奏。[]&lt;br /&gt;
As for the documents sent by Suihua city to each region under its jurisdiction, according to the approval of the Military Intelligence Office, two soldiers from Tumed banner who were proficient in Manchu and Mongolian were selected to translate and draft the documents, but these two men were not paid by the court. Therefore, Buxi also asked for a monthly rate of five coins for the interpreter of the Manchu and Mongolian languages according to the example of Tumed. On September 13 of the same year, Zhu PI, emperor Qianlong, &amp;quot;complied with the proposal. The ministry knows. Qin here.&amp;quot; And agreed to buhee's play--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:05, 19 October 2021 (UTC)&lt;br /&gt;
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According to the approval of the Military Intelligence Office, the documents sent by Suihua city to each jurisdiction were translated and drafted by two soldiers, who were selected from Tumed banner and proficient in Manchu and Mongolian. But these two men were not paid by the court. Therefore, Buxi presented a memorial and asked for five coins a month as salary with reference to the translators and interpreters of the Manchu and Mongolian in Tumed. On September 13 of the same year, emperor Qianlong wrote a response in red, &amp;quot;Proposal approved. The ministry informed. End here.&amp;quot; and he agreed what Buxi put forward.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 08:23, 19 October 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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乾隆十一年二月十三日，经吏部奏准，朝廷规定嗣后省城将军、副都统等衙门随印笔帖式，不再由京城委任，而改为本地兵丁内考取。因应此例，绥远城满洲、蒙古笔帖式的考选也做了调整，即从本地八旗兵丁中挑选适当人选，通过考试翻译（满、汉翻译）进行选任。由于绥远城蒙古学设立之初，蒙文教习系从归化城土默特巴克什中进行考选，因而补熙、保云、布彦图等又在乾隆十一年四月初三日联名具折，拟对蒙古学教习进行改选，并请设立满、蒙文翻译教习。&lt;br /&gt;
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On February 13, the 11th year of qianlong's reign, after the approval of the Ministry of Personnel, the imperial court stipulated that the provincial generals, deputy dutong and other clerks in Yamen(government office in feudal China) were no longer appointed by the capital, but were selected from local soldiers. In response to this rule, the test and selection of Manchuria in Suiyuan city and Mongolia clerks has also been adjusted, that is, to select appropriate candidates from the local soldiers of the eight banners  through the translation test (Manchu and Chinese translation). At the beginning of the establishment of Mongolian Studies in Suiyuan city, the Mongolian language teaching department selected students from tumot Bakshi, a naturalization city, so Buxi, Baoyun and Buyantu signed a joint proposal on April 3, the 11th year of qianlong, to change the teaching of Mongolian studies, and requested the establishment of Manchu and Mongolian translation teaching.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 13:56, 17 October 2021 (UTC)&lt;br /&gt;
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On February 13, the 11th year of Qianlong's reign, with the approval of the official department, the imperial court stipulated that the provincial capital generals, deputy lieutenant-generals and other officials would no longer be appointed by the capital but would be admitted by local soldiers. In response to this regulation, the way to examine and select Manchuria and Mongolia clerks in Suiyuan city was also adjusted, that is, appropriate candidates were selected and appointed from the local soldiers of the “Eight Banners”  through translation examinations (Manchu and Chinese translation). At the beginning of the establishment of Mongolian Studies in Suiyuan City, examinations were conducted in Guihua city, namely Tumert Bakshi to select Mongolian instructors. Therefore, Buxi, Baoyun, Bu Yantu and others jointly signed a letter to the throne on the third day of April in the eleventh year of Qianlong. They planned to reelect Mongolian instructors and seek to set up Manchu and Mongolian instructors of translation.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 14:26, 18 October 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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具体而言便是，从将军随印三名笔帖式内，挑选精通满、汉文翻译者二人，照吏部所定之例考试录用。同时，由于绥远城旗人中，懂汉文者甚少，因此拟请将原来所设的蒙古笔帖式缺（一人）改为满、蒙文翻译笔帖式缺，从蒙古旗人中加以考取。三个月之后，即七月十四日，补熙等人再次递呈奏折，请设满、汉翻译学，以便考选笔帖式。&lt;br /&gt;
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Specifically, two translators proficient in Manchu and Chinese were selected from the three clerks named bithesi accompanying the general, and employed in accord with the prescribed procedures set by the Ministry of Personnel. Meanwhile, few people of “Eight Banners” mastered Chinese in Suiyuan city, and therefore it was proposed to change the original lack of Mongolian clerk (one person) to the lack of Manchu and Mongolian translation clerks. The candidates for the positions were selected from the Mongolian Manchu people. Three months later, namely, on July 14, presenting their memorials to the throne again, Buxi and others asked for setting up Manchu and Chinese translation studies in order to test and select clerks.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:54, 17 October 2021 (UTC)&lt;br /&gt;
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Specifically, two translators proficient in Manchu—Chinese were selected from the three bithesis by the general, and employed according to the example set by the Ministry of officials.At the same time, there are few people who understand Chinese among the Eight Banners in Suiyuan city. Therefore, it is proposed to change the original lack of Mongolian bithesi(one person) to the lack of Manchu-Chinese and Mongolian-Chinese translation bithesis, and take it from the Mongolian.Three months later, on July 14, Buxi and others submitted their memorials again and askde for setting up Manchu-Chinese translation studies in order to test and select the bithesi.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:00, 17 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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此奏折的撰拟源于乾隆十一年三月十六日吏部的一纸奏定，后者规定嗣后各省城驻防将军、副都统，以及城守尉随印笔帖式，停止由京城补放，一律改为各省地方考取。此例出台之后，绥远城即在辖地八旗兵丁内，办理满、汉翻译考试，试图选取随印笔帖式七人。但令人以外的是，应试考生中多数不通汉文，个别能说汉文者，也只是粗通翻译，译文既不流畅，也不确切。&lt;br /&gt;
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The compilation of this memorial originated from a paper written by the Ministry of officials on March 16, the eleventh year of the Emperor Qianlong's reign.&lt;br /&gt;
According to the regulations of the Ministry of officials,stipulated that the provincial capital garrison generals, the vice capital, as well as the city guard officers with the bithesis, stopped by the capital replacement, must be admitted to provinces and localities provincial examinations.After the promulgation of this regulation,Suiyuan city conducted Manchu and Chinese translation examinations in the soldiers of the Eight Banners under its jurisdiction, trying to select seven people with the bithesis.But surprisingly, most of the examinees do not understand Chinese.some can speak Chinese, they can only translate roughly,and the translation is neither smooth nor accurate.          --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:34, 16 October 2021 (UTC)Liu Wei&lt;br /&gt;
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The edict originated from a memorial to the throne written by the Ministry of Civil Affairs on March 16, the eleventh year under the Emperor Qianlong's reign. The memorial stipulated that the appointment of the  provincial capital garrison generals, the vice capital, as well as the bithesis of the city guard officers, should be made through provincial examinations rather than the capital decisions. After the promulgation of this regulation, Suiyuan conducted Manchu－Chinese translation examinations in the soldiers of the Eight Banners under its jurisdiction, trying to select seven people as the bithesis. But surprisingly, most of the examinees did not know Chinese. Even some could speak, they could only do the translation roughly, which was neither smooth nor accurate. --[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:03, 16 October 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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故而，只能勉强从中选取考卷三份，加以阅读分析。由于绥远城中通汉文者甚少，长于翻译满、汉文者亦少，因而蒙古学设立三年以来，学生仍以参加满、蒙文考试居多，而以满、汉文考试为少。而自从将随印笔帖式改为从八旗兵丁内考选之后，汉文的学习越发重要，因为不学习汉文，便无法进行满、汉翻译。&lt;br /&gt;
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Constraintly,  the officials could only pick three papers to read. As few people in Suiyuan knew Chinese, as well as people who mastered the Manchu-Chinese translation, the majority of students still took Manchu-Mongolian examinations, with fewer people taking the Manchu-Chinese examinations since the Mongolian Language Studies had been set three years ago. However, since the general bithesi exmabination had been changed to choosing bithesi from soldiers among the Eight Banners, the study of Chinese became more and more important, for without learning Chinese, it was impossible to carry out Manchu－Chinese translation.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:04, 16 October 2021 (UTC)&lt;br /&gt;
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Therefore, the officials could only reluctantly select three test papers for reading and analysis. Due to the fact that few people in Suiyuan are proficient in Chinese, and few mastered the Manchu-Chinese translation, the majority of students still took Manchu-Mongolian examinations, with fewer people taking the Manchu-Chinese examinations since the Mongolian Language Studies had been set three years ago.  However since the general bithesi exmabination had been changed to choosing bithesi from soldiers among the Eight Banners, the study of Chinese became more and more important, for without learning Chinese, it was impossible to translate Manchu－Chinese.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 22:55, 18 October 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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因此，对于绥远城而言，仿照蒙古官学之例，设立满、汉翻译官学便显得非常重要。因为绥远城内无人可堪满、汉翻译教习之用，因而满、汉翻译官学设立之后，应当由吏部从京城八旗之内，挑选合适者充任。除此以外，补熙等人也在奏折中，一并奏请朝廷拨付用于翻译教学的笔墨、纸张等。&lt;br /&gt;
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Therefore, for Suiyuan City, it is very important to establish Manchu and Chinese translation official schools, following the example of Mongolian official schools. Since there was no one in Suiyuan can be used to teach Manchu and Chinese translation, after the establishment of Manchu and Chinese translation official schools, the Ministry of officials should select suitable ones from the Eight Banners in the capital. In addition, bu Xi and others are also wrote memorials，requesting the court to allocate pen, ink and paper for translation teaching.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 13:32, 18 October 2021 (UTC)&lt;br /&gt;
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Therefore, for Suiyuan city, it then became very important to establish the official school of Manchu and Chinese translation following the example of Mongolian official school. Since no one in Suiyuan city was eligible to teach Manchu and Chinese translation, after the establishment of the official school of Manchu and Chinese translation, the Ministry of Officials should select suitable candidates from the Eight Banners in the capital. In addition, Bu Xi and other officials also requested the imperial court to allocate pen, ink and paper for translation teaching in memorials to the throne.&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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补熙认为，只有照此设立满、汉翻译官学，才能确保翻译满、汉文的笔帖式考选得以顺利进行。乾隆三十七年九月，继任绥远城将军容保奏请支付满、蒙八旗学教习和学生银两，其中提到补熙奏准设立的满、蒙翻译官学（即乾隆六年设立的满、蒙学馆）和十一年设立的满、汉翻译官学，以及两所学校教习的选拔。容保认为，满、蒙翻译官学和满、汉翻译官学的四名翻译教习并没有其它差务，而只是专于教学，因而每月支银各一两五钱，即每年支银七十二两，实属过分，应予以全数抽出。&lt;br /&gt;
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Bu Xi believed that only by establishing the official school of Manchu and Chinese translation in such a way could ensure the success of selective test for bithesi. In September of the 37th year of Qianlong Emperor's reign, Rong Bao, the successor to the former General of Suiyuan, proposed that financial support should be provided for the teachers and students who were Manchu and Mongolian Eight Banners. The official school of Manchu and Mongolian translation (the Manchu and Mongolian school founded in the sixth year of Qianlong's administration) suggested by Bu Xi, the official school of Manchu and Chinese translation and the selection of their teachers are mentioned in the proposition. Bao Rong insisted that since the four teachers in the two schools have no other job but teaching, offering them 1 silver coin and 5 copper coins per month, namely 72 silver coins per year is excessive and thus all the money should be reallocated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:36, 24 October 2021 (UTC)&lt;br /&gt;
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Bu Xi believed that only by establishing the official school of Manchu-Chinese translation in such a way could the success of selective test for bithesi be ensured. In September of the 37th year of Qianlong Emperor' s reign, Rong Bao, the successor to the General of Suiyuan city, proposed that financial support should be provided for the teachers and students who were Manchu and Mongolian Eight Banners. The proposal also mentioned the official school of Manchu-Mongolian translation (founded in the sixth year of Qianlong) and the official school of Manchu-Chinese translation, which both built on the advice of Bu Xi, As well as the selection of schools' teachers. Bao Rong considered that since the four teachers in these schools had no other job but teaching, it was wasteful to offer them 1 silver coin and 5 copper coins per month, namely 72 silver coins per year. Thus all the money should be reallocated.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 09:13, 19 October 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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逮于绥远城设立官学五所之后，遂将四名翻译教习，以及抽出的银两等，一同拨付给前者。虽然乾隆帝对于此折只是简单地批复道“知道了”，但根据后来的文献记载，容保所奏仍然得到了允准。如乾隆五十年九月二十二日，集福以绥远城将军身份上疏高宗，奏请改设满、汉翻译官学，其中便提到容保奏请裁汰翻译官学之事，其中指出：&lt;br /&gt;
Only after the five official schools were built in Suiyuan city, the imperial court then should allocate 4 translation teachers and salaries to the schools. Though Emperor Qianlong merely replied these memorials with &amp;quot;got it”, the sebsequent documents suggest that the memorial presented by Rong Bao had been approved by Emperor. For instance, on September 22rd,  the fiftieth year of emperor Qianlong（1785), Ji Fu presented a memorial as the general of Suiyuan city, asking for a transformation of officals schools of Manchu-Chinese translation. Thereinto, he mentioned the advise proposed by RongBao that government should make a modification of officiall translation schools . It pointed out that:--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 06:10, 19 October 2021 (UTC)&lt;br /&gt;
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Only after five official educational institutions had been set up,did these four translation teachers, the collected fund and so on been allocated to the institutions.Though Emperor Qianlong just replied “I see”，Rong Bao’s memorial still got approval according to the documents afterward.For instance， on September 22rd,  the fiftieth year of emperor Qianlong（1785)，Ji Fu presented a memorial as the general of Suiyuan city, asking for setting up officals schools of Manchu-Chinese translation，in the case of which，he mentioned Rong Bao’s suggestion that the official educational institutions should be shut down.It pointed out that:----[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:38, 20 October 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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奴才查，乾隆十一年经前任将军补熙奏准，在绥远城设立满蒙翻译学，考取两名教习，挑选八旗子弟二十名教育，俟三年期满后，诚能勤勉从事，所教有成，则将该教习保奏，记名挑补骁骑校。乾隆三十七年，经前任将军容保奏准，裁汰翻译学，设立五所满洲学，每学各设教习四名，教育所有年轻养育兵及闲散幼丁。奴才等查，每学现有学生百余名，徒有其名而已，并未得以好好学习，于学生甚无益处，反被耽误。&lt;br /&gt;
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I have searched that in the eleventh year of Qian Long’s reign，the translation subject of Man and Meng nations had been settled down in Sui Yuan city under the approval of the former general———— Bu Xi，recruiting two teachers to teach twenty royal students enrolled，who will honored to be Tiao Buxiaoqixiao without test if he is literally diligent in teaching and has made an achievement during three years.In the thirty seventh year of Qian Long’s reign，the translation subject had been cancelled under the approval of the former general———— Rong Bao，and five Man Zhou institutions were set down with every institution having four teachers to teach those young soldiers and free childrens.We have investigated that every institution has more than one hundred student，who were not deserved to be called educational institution，cause students cannot study well but were reversely misled.&lt;br /&gt;
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I had searched that in 1746, the 11th year under the reign of Qianlong, the former general named Bu Xi had got permission from the Emperor to set up Manchurian-Mongolian translation studies in Suiyuan city, recruited two instructors to teach 20 students enrolled in the Eight Banners who will be honored as candidate for valiant cavalry if he is diligent in learning and made an achievement during three years' training. In 1772, the 37th year under the reign of Qianlong, the formal general Rong Bao had approved the decision to cancel the translation studies and set up five Manchurian schools, each with four instructors, to teach those young soldiers and idle toddlers. We had investigated that every school had more than one hundred students with an undeserved reputation, which benefited nothing for students but delayed them on the contrary.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:14, 18 October 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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况且自裁汰翻译学以来，考取笔帖式及撰拟咨行各地汉字文稿，日渐难以得人。奴才等加紧训练兵丁之满洲语言外，自到任后即行整修将军衙门内房屋十五间，将八旗近三百名俊秀子弟编为五所学校，挑选贤能教习，每日教授满洲语言及马步箭。今经查看，已有成效，再加紧教习一二年后，皆可成长。&lt;br /&gt;
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Besides, since the elimination of translation studies, it has become increasingly difficult to find people who passed the examination for bithesi and excelled at writing manuscripts in various industries and places with Chinese characters. In addition to stepping up the soldiers' Manchurian language training, we have also renovated 15 houses in the General's Yamun since taking office, grouped nearly 300 outstanding intelligence in the Eight Banners into five schools and selected talented instructors to teach them Manchuria language and horseback archery. Visible results have been achieved after checking today and they will all able to make greater progress if we step up training for one or two years.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:28, 18 October 2021 (UTC)&lt;br /&gt;
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Another version: Moreover, since the abolition of translation studies, it has become increasingly difficult to garner talents to take part in and pass translation examination, and to draw up the drafts of news about all walks of life in various places. Apart from strengthening the soldiers’ training in Manchurian language, we and other ministers immediately arranged to renovate 15 houses in the General’s Yamen (the government office in feudal China) after taking office. The nearly 300 brilliant youths in the Eight Banners will be organized into five schools and taught by the select competent personages in Manchurian language, horse-riding, and arrow-shooting on a daily basis. After today’s checking, these young people have made great progress, and they will achieve more growth with subsequent one-to-two-year effective and intense study. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:36, 19 October 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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奴才等愚见，请将八旗现有五所满洲学概行裁撤，仅留一处校舍，仍照旧例作为满汉翻译学，考取两名翻译教习，挑选八旗俊秀稍大子弟三十名，教授满汉文翻译。每年支给现有五所学校之公用银，即拨给新设翻译学校及将军衙门内所设五所学校使用。其所撤四所学校之房屋，并无用处，相应照先前腾出官署作价之例，交同知作价归入正项钱粮。&lt;br /&gt;
In our humble opinion, the five existing Manchurian schools in the Eight-Banners system should be abolished, with only one school building leaved to be used for Manchurian-Chinese translation studies as usual. Meanwhile, two translators will be admitted through tests into the school to teach translation, and thirty youths of outstanding intelligence in the Eight Banners will be selected to impart Manchurian-Chinese translation. The annual public money allocated to the existing five schools should be now distributed among the newly established translation school and the five schools in the General’s Yamen (the government office in feudal China). The four school houses which have been removed are useless, and the fees of these vacant houses will be valued according to the previous examples, handed over to the relevant ministers for pricing, and integrated into the tax and corvee system.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:09, 16 October 2021 (UTC)&lt;br /&gt;
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In our humble opinion, the five existing Manchurian schools in the Eight-Banners system should be abolished, with only one school building leaved to be used for Manchurian-Chinese translation studies as usual. Meanwhile, select two translation instructors and thirty of the eight banners excellent older sons and daughters to teach the Manchu-Chinese translation. The annual public money allocated to the existing five schools should be now distributed among the newly established translation school and the five schools in the General’s Yamen (the government office in feudal China). The four school houses which have been removed are useless, and the fees of these vacant houses will be valued according to the previous examples, handed over to the relevant ministers for pricing, and integrated into the tax and corvee system.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:44, 16 October 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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如此稍作调整，则考取笔帖式、撰拟汉字文稿皆可得人，于满洲语言、马步箭等技艺亦有益处。[]  中国第一历史档案馆（郭美兰编译）：《乾隆朝绥远城设立八旗官学满文档案》，《历史档案》，2012年第2期，第50页。根据集福的说法，乾隆三十七年，五所满洲官学设立之后，至今共有官学生五百余人，即每学为百余人，教习共二十人，即每学为四人，但这些学生自入学以后，并未专心学习，所谓肄业只是徒有其名。&lt;br /&gt;
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With a little adjustment like this, you can become a bithesi, compose a kanji manuscript better than others, and benefit from skills such as Manchurian language and horseback archery. The First Historical Archives of China (compiled by Guo Meilan): &amp;quot;Manchu Archives of the Establishment of the Eight Banners Official School in Suiyuan City during the Qianlong Dynasty,&amp;quot; Historical Archives, 2012, No. 2, p. 50. According to Ji Fu, in the thirty-seventh year of the Qianlong era, after the establishment of five Manchurian government schools, so far there are more than 500 students, that is, each school for more than 100 people, teachers a total of 20 people, that is, each school for four people. However, these students have not concentrated on their studies since they enrolled, and the so-called studies are only in name.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:32, 16 October 2021 (UTC)&lt;br /&gt;
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With a little adjustment like this, talents emerged  passing the test of bethesi and able to write Chinese texts. Manchurian language and Mabu  archery and other skills all benefited from it. According to The First Historical Archives of China (compiled by Guo Meilan): &amp;quot;Manchu Archives of the Establishment of the Eight Banners Official School in Suiyuan City during the Qianlong Dynasty,&amp;quot; Historical Archives, 2012, No. 2, p. 50. According to Ji Fu, in the thirty-seventh year of the Qianlong era, after the establishment of five Manchurian government schools, so far there are more than 500 students, that is, each school for more than 100 people, teachers a total of 20 people, that is, each school for four people. However, these students have not concentrated on their studies since they enrolled, and the so-called studies are only in name.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:31, 18 October 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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然而，集福自称自其就任以来，不仅强化八旗兵丁的满洲语言学习，从中挑选俊秀者充补至将军衙门内新设的五所学校，而且在教习的问题上挑贤选能，令其勤于教习，凡此种种已使学生的培养初见成效。因此，集福请旨将原来所设的五所满洲官学进行裁撤，将其并为一所，仍照旧例定为满、汉翻译官学，以两名翻译教习，教授三十名八旗俊秀子弟满、汉文翻译。乾隆帝为此责令军机大臣和珅等，遵旨议奏。&lt;br /&gt;
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However, Jifu claimed that since he took office, he has not only strengthened the study of Manchuria language among the Eight Banners soldiers, from whom he selected excellent persons to fill the five new schools in the General's Office, but also selected talents on the issue of teaching, urging them to be diligent in their work. all of which have made the training of students first effective. Therefore, Jifu asked for an order to abolish the original five Manchurian official schools and make them one, which was still ordered as the official school of Manchu and Chinese translation as before. Two teachers were arranged to teach thirty young talents of Eight Banners Manchu and Chinese translation. For this proposition, Emperor Qianlong ordered He Shen and others, ministers of Junjichu, to discuss and make report on Jifu’s proposal.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 15:05, 17 October 2021 (UTC)&lt;br /&gt;
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However, Jifu claimed that since he took office, he has not only strengthened the study of Manchu among the Eight Banners soldiers and selected excellent candidates qualified for the five schools set up newly in the General's Office, but also selected talents on the issue of teaching and urged?them to be diligent in their work. All measures make the development of students first-time results. Therefore, Jifu asked for an order to combine the five Manchurian official schools into one, which was still ordered as the official school of Manchu and Chinese translation as before. Two translators were arranged to teach thirty young talents of Eight Banners Manchu and Chinese translation. For this proposition, Emperor Qianlong ordered He Shen and others ministers of Junjichu, to discuss and make report on Jifu’s proposal.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 10:25, 20 October 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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于是，十月五日，即集福具折四日之后，和珅遵旨回奏，指出自裁汰翻译官学以来，各部院衙门在考取笔帖式和书写汉字文移时，竟不得人，因而同意了集福之议，裁汰原来所设的五处满洲官学，留一处作为官学房屋，照旧例设立满洲翻译官学，教习八旗英俊子弟满、汉语翻译。和珅在奏章中同时指出，各省将军和地方官员相互行文时，也需要用到汉字，因而也需要教授翻译。同日，乾隆帝即批复“著依议。钦此”，同意了和珅所议。&lt;br /&gt;
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Therefore, on October 5, four days after the proposal of Jifu, He Shen played back according to his order, pointing out that since the abolition of the official school of translation, the Yamen of various ministries and institutes have been unable to find a qualified person when taking the examination of pen style and writing Chinese characters. Therefore, he agreed with Jifu's proposal to eliminate the five original Manchu official schools leaving one as the official school house, and to set up the Manchu official school of translation according to the old practice in order to teach the distinguished children of the eight banners to translate Manchu and Chinese. In He Shen’s proposal folding, he also pointed out that when provincial generals and local officials write to each other, they also need to use Chinese characters, so they also need to learn translation. On the same day, Qianlong Emperor approved his proposal by &amp;quot;I agree, that’s all&amp;quot; and consented to He Shen’s suggest.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 10:26, 20 October 2021 (UTC)&lt;br /&gt;
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Therefore, on October 5th, four days after the preparation of memorial to the throne of Jifu, He Shen played back according to the emperor’s order, pointing out that since the adjudication and abolition of the official school of translation, the Yamen of various ministries and institutes had been unable to find a qualified person when they  craved for the translate position and wrote the official document in Chinese. Therefore, he agreed with Jifu's proposal to eliminate the five original Manchu official schools leaving one as the official school house, and to set up the Manchu official school of translation according to the old practice in order to teach the distinguished children of the eight banners to translate Manchu and Chinese. Meanwhile, He Shen also pointed out in his proposal that when provincial generals and local officials wrote official documents to each other, they also need to use Chinese characters, so they also need to be taught translation. On the same day, Qianlong Emperor approved his proposal by &amp;quot;I agree, that’s all&amp;quot; and consented to He Shen’s suggest.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 00:55, 17 October 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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显然，无论是补熙和鄂尔泰等奏请设立或复设满蒙学馆，还是补熙奏请设立蒙古学、满汉翻译学，以及改设满蒙文翻译笔帖式，又或是德龄等奏请制定满蒙文翻译生员奖惩章程，容保奏请设立满蒙八旗学五所，以及集福奏请裁汰满蒙八旗学，并改设（复设）满汉翻译学等，凡此种种都表明绥远城官学的翻译人才培养目标与定位，其办学模式和办学效果在清代旗学体系中颇具典范性。&lt;br /&gt;
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Apparently, whether Buxi and Ertai remit their requirements of establishing or set up the Academy of Manchuria and Mongolia anew to the emperor and Buxi asked the emperor for the instruction of establishing the study of Mongolia, translatology of Manchurian and Han language and authorizing the officers who transcribe and translate the Mongolian and Manchu language, or Deling asked the emperor to formulate the rewarding and penal regulations for Manchurian and Mongolian translators; Rongbao requested instructions from the emperor to found five schools for Manchurian and Mongolian Eight Banners and Jifu appeal for adjudicating and eliminate the study of Manchurian and Mongolian Eight Banners and turning to set up the translatology of Manchurian and Han language, those behaviors manifested the exemplary nature of the training goals and orientation for translation talents, school running modes and school running effects of Suiyuan official school in the system of banner hierarchy in Qing Dynasty.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 14:36, 16 October 2021 (UTC)&lt;br /&gt;
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Apparently, all the following proposals manifested the exemplary nature of the training goals and orientation for translation talents, school running modes and school running effects of Suiyuan official school in the system of Academy of Banner in Qing Dynasty. For example, Buxi and Ertai submitted their requirements to the emperor of establishing or setting  up the Academy of Manchuria and Mongolia again; Buxi asked the emperor for the instruction of establishing the study of Mongolia, translatology of  the Manchuand Han language and establishing the group of scholars of the Manchu and Mongolian translation; Deling asked the emperor to formulate the rewarding and penal regulations for Manchurian and Mongolian translators; Rongbao requested instructions from the emperor to found five schools for Manchurian and Mongolian Eight Banners; Jifu appealed for adjudicating and eliminating the study of Manchurian and Mongolian Eight Banners and turning to set up the translatology of Manchurian and Han language, etc--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:53, 17 October 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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2.旗学教育中的汉籍（书）译本。旗学之设，必有教材方能成行，然而国初之际并无文字，书籍修纂只能借助其它民族文字，颇为不易。太祖、太宗年间，额尔德尼与噶盖受命创制老满文，后经达海改进，不仅给文移往来、记注政事等带来便利，也给满、汉翻译，以及解决旗人教育的教学用书等，创造了条件。&lt;br /&gt;
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2.Translated version of the Han Dynasty in the education of Academy of Eight Banners. Only with teaching materials could the Academy of Eight Banners’ establishment be accessible, however, at the beginning of the country there was no text. Under this circumstance, books could only be compiled with the help of other nationality characters, which was quite difficult. During the reign of first and second emperors of the Qing Dynasty, Erdeni and Gagai were ordered to create the old Manchu which was later improved by Dahai. Not only made it much easy for official documents communication, political affairs’ notation, but also provided the conditions for the Manchu, Han translation, as well as solving the teaching books of the Bannerman’s education , etc. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:15, 17 October 2021 (UTC)&lt;br /&gt;
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Translated version of the Han Dynasty in the education of Academy of Eight Banners. Only with teaching materials could the Academy of Eight Banners be established successfully, however, at the beginning of the country there was no text. Under this circumstance, books could only be compiled with the help of other nationality characters, which was quite difficult. During the reign of first and second emperors of the Qing Dynasty, Erdeni and Gagai were ordered to create the old Manchu which was later improved by Dahai. Not only made it much easier for official documents communication and political affairs’ notation, but also provided the conditions for the Manchu and Han translation, as well as solving the problem of teaching books of the Bannerman’s education , etc. --[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 03:07, 18 October 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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如太祖曾命达海翻译汉籍，太宗也曾分拨“书房”满官担任“译汉字书籍”的工作，译成之书包括《刑部会典》、《素书》、《三略》、《万宝全书》等。天聪八年，伊成阿（又名宜成格）参加礼部考试，以第一名取中“汉人习满书”举人，授内国史院行走，又翻译《礼部会典》成书。[] 鄂尔泰等：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第239页；清高宗敕纂：《八旗满洲氏族通谱》，台北：台湾商务印书馆，1983年，第12页。嗣后，大学士希福于崇德元年奉敕翻译《辽》、《金》、《元》三史，崇德四年六月译竣，顺治元年“敬缮成书以进”。[]&lt;br /&gt;
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For example, Taizu once ordered Dahai to translate Chinese books, and Taizong once assigned Manchu officials in the &amp;quot;Study orgnization&amp;quot; to the work of &amp;quot;translating Chinese books&amp;quot;. The successfully translated books include ''the code of the Ministry of punishment'', ''Su Shu'', ''San Lue'', ''Wan Bao Quan Shu''(''General People's Daily Life''), etc. In the eighth year of Tiancong, Yi chenga (also known as Yi chengge) took part in the examination of the Ministry of rites, took the first place in the &amp;quot;Han people's learning full books&amp;quot;, was awarded to work part-time at the National Academy of history, and translated ''Ceremony of the Ministry of Rites'' into a book. [] Ertai et al：''Records of Emperor Taizong In Qing Dynasty''，Beijing：Zhong Hua Book Company，1985，p239；Imperial usurpation by Emperor Gaozong of the Qing Dynasty：''General Manual of Manchu Clan in Eight Banners''，Taibei：Taiwan Commercial Press，1983，p12. Subsequently, in the first year of Chongde, the grand seccretary Xi Fu was ordered to translate three historical books: ''Liao'', ''Jin'' and ''yuan'',and the translation work ended in June of the fourth year of Chongde, then the books were presented to the emperor in the first year of Shunzhi.[]--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 03:02, 18 October 2021 (UTC)&lt;br /&gt;
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For example, Taizu once ordered Dahai to translate Chinese books, and Taizong assigned Manchu officials in the &amp;quot;Study orgnization&amp;quot; to the work of &amp;quot;translating Chinese books&amp;quot;, which included  ''the Code of the Ministry of Punishments '', ''Su Shu'', ''San Lue'', ''General People's Daily Life , etc. In the eighth year of Tiancong, Yi Chenga (also known as Yi Cheng’e) took the examination of the Ministry of Rites and won the first place in the &amp;quot;Han people's learning full books&amp;quot;. He was awarded to work part-time at the National Academy of History as well as translated ''Ceremony of the Ministry of Rites'' into a book. [] Ertai et al：''Factual Records of Emperor Taizong In the Qing Dynasty''，Beijing：Zhong Hua Book Company，1985，p.239；Imperial usurpation by Emperor Gaozong of the Qing Dynasty：''General Manual of Manchu Clan in Eight Banners''，Taibei：Taiwan Commercial Press，1983，p.12. Subsequently, in the first year of Chongde, the grand secretary Xi Fu was mandated to translate three historical books: ''Liao'', ''Jin'' and ''yuan'',and the translation work ended in June of the fourth year of Chongde, then the books were presented to the emperor in the first year of Shunzhi. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:08, 18 October 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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鄂尔泰等：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第49页。这些满译汉籍或涉及修身正心，或涉及齐家治国，成为统治者了解汉制，学习知识的主要途径，同时也是清初旗人教育的重要来源。例如，顺治初开办国子监八旗官学时，朝廷拟将满、汉官员子弟分为“读清书”、“读汉书”两种，前者正是以汉籍的满文译本作为学习的主要内容。&lt;br /&gt;
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Ertai et al.: “Factual Records of the Qing Dynasty • Factual Records of Emperor Taizongwen”, Beijing: Zhonghua Book Company, 1985, p. 49. These Chinese books translated in Manchu language, either involving self-cultivation and moral integrity or related to regulating the family and ruling the state, became the main way for governors to learn about the Han system and acquire knowledge, as well as the significant source of Bannerman Education in the early Qing Dynasty. For instance, at the beginning of Emperor Shunzhi’s establishment of the Imperial Academy of Eight Banners, the court intended to divide the children of Manchu and Han officials into two types:” reading books of the Qing Dynasty and of the Han Dynasty, the former of which exactly took the Manchu translation of Chinese books as the main content of learning.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 14:35, 16 October 2021 (UTC)&lt;br /&gt;
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Ertai et al.:” Factual Records of the Qing Dynasty • Factual Records of Emperor Taizongwen”, Beijing: Zhonghua Book Company, 1985, p. 49. These Chinese books translated in Manchu language, either involving self-cultivation and moral integrity or related to regulating the family and ruling the state, became the main way for governors to learn about the Han system and acquire knowledge, as well as the significant source of Bannerman Education in the early Qing Dynasty. For instance,at the time of establishing the Imperial Academy of Eight Banners in the beginning of the rule of Shunzhi, the court intended to divide the children of Manchu and Han officials into two types:” reading books of the Qing Dynasty and of the Han Dynasty, the former of which exactly took the Manchu translation of Chinese books as the main content of learning.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:26, 17 October 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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顺治年间，他赤哈哈番阿什坦先后翻译《大学》、《中庸》、《孝经》和《通鉴总论》等，这些书籍要么被用作治国理政之参考，要么也被用作旗人教育之教材。[] 鄂尔泰等修，李洵、赵德贵点校：《八旗通志·初集》，长春：东北师范大学出版，1986年，第5339页。据陳康祺在《郎潜纪闻·二笔》中说，“顺治初，翻译《大学》、《中庸》、《孝经》诸书，刊行之，以教旗人，皆出其手”，即是此情况之体现。[]&lt;br /&gt;
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During the reign of Shunzhi, Tachihahafanashitan translated the ''University'', the ''Moderation'', the ''Classic of Filial Piety'' and ''The General of Tongjian'' one by one, which were either used as a reference for governing the country or as teaching materials for the education of Flag People.[]Revised by Ertai ect. Proofread by Li Xun and Zhao Degui: ''Eight Banner Tongzhi· Initial Collection'', Changchun: Published by Northeast Normal University, 1986, p. 5339.According to Chen Kangqi in ''Lang Qianjiang · Two Bi'', &amp;quot; At the beginning of Shunzhi, he translated the ''University'',the ''Moderation'', the ''Classic of Filial Piety'' and published them to teach the Frag People&amp;quot;, which is the embodiment of this situation.[]--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:17, 17 October 2021 (UTC)&lt;br /&gt;
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During the reign of Shunzhi, Tachihahafanashitan translated the ''University'', the ''Moderation'', the ''Classic of Filial Piety'' and ''The General of Tongjian'' successively， which were either used as a reference for governing the country or as teaching materials for the education of Banner People. []Revised by Ertai ect. Proofread by Li Xun and Zhao Degui: ''General Annals of Eight Banner ·Initial Collection'', Changchun: Published by Northeast Normal University, 1986, p.5339. According to Chen Kangqi in ''Folk Anecdotes Chronicle(Second Version)'', &amp;quot;In the early period of Shunzhi, he translated the ''University'',the ''Moderation'', the ''Classic of Filial Piety'' and published them to educate the Banner People&amp;quot;, which is the embodiment of this situation. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 04:49, 17 October 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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陈康祺著，晋石点校：《郎潜纪闻·二笔》，北京：中华书局，1997年，第362页。除了是八旗臣民的学习教材之外，汉籍满译本也是最高统治者的学习蓝本，深深影响了清初君主的知识结构。例如，世祖即位之初，仅识满文，逮亲政后方习汉语。《清实录·世祖章皇帝实录》中的说法是“六龄即嗜观史书”，显然世祖是以汉籍的满文译本为限。[]&lt;br /&gt;
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Written by Chen Kangqi, edited by Jinshi: ''Folk Anecdotes Chronicle(Second Version).'' Beijing: Zhonghua Book Company, 1997, page 362. In addition to being the learning material of the eight banners, the Manchu translation of Chinese classics was also the learning blueprint of the supreme rulers, which deeply influenced the knowledge structure of the early Qing emperors. For example, emperor Shizu only knew Manchu when he just ascended the throne, then he learned Chinese after taking over the reins. In ''the Records of Qing Dynasty· Emperor Fu Lin'', it is said that “be addicted to reading historical books at the age of 6”, which implies that emperor Shizu was limited to the Manchu translation of Han books at that time.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 14:35, 16 October 2021 (UTC)&lt;br /&gt;
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Annotations:&lt;br /&gt;
First:the Manchu translation of Chinese-the translation of Han Ji Manchu &lt;br /&gt;
Second:emperor Shizu-at the beginning of emperor Shizu’s accession --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:16, 18 October 2021 (UTC)&lt;br /&gt;
==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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鄂尔泰等：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第27页。《北游集》中，对于世祖勤学汉文的情形也有记载，认为他所阅读的汉书范围甚广，“《左》、《史》、《庄》、《骚》、先秦、两汉、唐宋八大家，以及元明撰著，无不毕备。”[] 释道忞：《北遊集》，上海：上海古籍出版社，2010年，第47-48页。&lt;br /&gt;
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Ertai et al., Records of the Qing Dynasty, Records of the Emperor Shizu Zhang, Beijing: Zhonghua Book Company, 1985, p. 27. There is also a record of Shizu's diligent study of The Chinese language in Beiyou, which says that he read a wide range of Han books, including Zuo, Shi, Zhuang, Sao, the eight masters of the Pre-Qin, Han, Tang and Song dynasties, as well as the works of the Yuan and Ming dynasties. [] Daomin Shi: A Journey in North China, Shanghai: Shanghai Ancient Books Publishing House, 2010, pp. 47-48.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:10, 18 October 2021 (UTC)&lt;br /&gt;
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Ertai et al. Records of emperor shizuzhang in the Qing Dynasty, Beijing: Zhonghua Book Company, 1985, P. 27. There are also records of Shizu's diligent study of Chinese in the collection of northern travels, which holds that he has read a wide range of Han books, &amp;quot;Zuo, Shi, Zhuang, Sao, eight masters in the pre-Qin, Han, Tang and Song Dynasties, as well as the yuan and Ming Dynasties.&amp;quot; [] Shi Daoyi: collection of northern travels, Shanghai: Shanghai Ancient Books Publishing House, 2010, pp. 47-48.&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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顺治帝学习汉文之时，内秘书院已完成组织翻译《通鉴》，并另行请译《大学衍义》，这些译本无论成书与否，都对顺治帝奠定知识基础具有重要作用。顺治十年，内院诸臣奉敕翻译《五经》，顺治帝在御览译本初稿时，也以御笔批注译本中的讹错，令译书官更正缮写。正是由于世祖亲近汉官，倾慕汉族文化，虽然因为统治阶级内部的压力，不得不在顺治十一年宣布宗学“永停其习汉字诸书”，但仍在宗学的教学内容上做出让步，允许宗学生“翻译各样汉书观玩”，使得宗学及其它官学仍可以保留满译汉籍文本作为教材。[]&lt;br /&gt;
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When Emperor Shunzhi studied Chinese, neimi Academy had completed the translation of Tongjian and asked for another translation of University Spread Meaning. Whether these translations were completed or not, they played an important role in laying the knowledge foundation for emperor Shunzhi. In the 10th year of Shunzhi reign, the officials in the inner court translated The Five Classics. When Emperor Shunzhi read the first draft of the translation, he also annotated the errors in the translation with the Royal pen and ordered the translators to correct and rewrite. It was precisely because the ancestors were close to Han officials and admired Han culture,although they had to announce that the patriarchal school &amp;quot;stopped learning Chinese characters and books forever&amp;quot; in the 11th year of Shunzhi because of the pressure within the ruling class, they still made concessions on the teaching content of the patriarchal school and allowed the patriarchal students to &amp;quot;translate all kinds of Chinese books and watch and play&amp;quot;, so that the patriarchal school and other official schools can still retain the fully translated Chinese texts as teaching materials.  -- translated by Wang Zhenlong&lt;br /&gt;
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When Emperor Shunzhi studied Chinese, Neimi Academy had completed the translation of ''Tongjian'' and asked for another translation of ''The Derivation of the Great Learning''. Whether these translations were completed or not, they played an important role in laying the knowledge foundation for emperor Shunzhi. In the 10th year of the reign of Emperor Shunzhi, the ministers in the Neimi Academy translated ''The Five Classics''. When Emperor Shunzhi read the first draft of the translation, he also annotated the errors in the translation with the royal pen and ordered the translators to correct and rewrite. They had to announce that the royal family &amp;quot;stopped learning Chinese characters and books forever&amp;quot; in the 11th year of the reign of Emperor Shunzhi because of the pressure within the ruling class. But it was precisely because the ancestors were close to Han officials and admired Han culture, they still made concessions on the teaching content of the royal clan and allowed the students to &amp;quot;translate all kinds of Chinese books and watch and play&amp;quot;, so that the patriarchal school and other official schools can still retain the fully translated Chinese texts as teaching materials. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 05:20, 19 October 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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至于内秘书院原拟翻译的《大学衍义》，虽迟至康熙十一年完成，并于次年进呈，但无论太皇太后，还是康熙本人，都对该书格外重视，不仅命儒臣翻译刊刻，颁赐群臣，而且将其分发给八旗官学，以资肄习。[]康熙作为千古一帝，在位期间不仅敕译大量儒典，如《日讲四书解义》、《日讲书经解义》、《日讲易经解义》等，也敕撰或御制满汉合璧本的其它汉籍，如《御选古文渊鉴》、《资治通鉴纲目》、《御纂性理精义》等，这些书籍在颁赐大臣和各省之余，也一并被颁赐旗学，以教材资用。&lt;br /&gt;
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As for The Original Draft of The Derivation of Great Learning by Secretary of Academy, though it was completed until the eleventh year of Kangxi and was presented the next year, both Kangxi’s grandmother and Kangxi himself attached great importance to the book. He not only ordered knowledgeable ministers to translate the cut blocks and gave it as an official favor to all ministers. He also handed it out for Eight Banners (military administrative system of the Manchus in the Qing Dynasty) to encourage them to leave school before graduation. As the first emperor in thousands of years, during the reign, he not only gave imperial order to translate many Confucian classics, such as Explain Four Books Every Day, Explain Books of Documents Every Day, Explain Books of Changes Every Day, but also ordered them to make other Chinese books of the combination of Manchu and Han, such as Imperial Selection of Guwenyuanjian, Compendium of History as a Mirror, Imperial Compile of Xinglijingyi. Besides as an official favor to the ministers and each province, it was also handed out Eight Banners in order to further enrich the use of teaching materials.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 04:13, 17 October 2021 (UTC)&lt;br /&gt;
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As for ''The Original Draft of The Derivation of Great Learning'' by Secretary of Academy, though it was completed until the eleventh year of Kangxi and was presented in the next year, both Kangxi’s grandmother and Kangxi himself attached great importance to the book. He not only ordered knowledgeable ministers to translate and print the book and gave the translations as an official favor to all ministers. He also handed out them to Eight Banners (military administrative system of the Manchus in the Qing Dynasty) for their study. As an excellent emperor in the history, during his reign, Kangxi not only gave imperial order to translate many Confucian classics, such as ''Explain Four Books Every Day'', ''Explain Books of Documents Every Day'', ''Explain Books of Changes Every Day'', but also ordered to compile other Chinese books of the combination of Manchu and Han, such as ''Imperial Selection of Guwenyuanjian'', ''Compendium of History as a Mirror'', ''Imperial Compile of Xinglijingyi''. Besides as an official favor to the ministers and each province, these books were also handed out to Eight Banners as teaching material.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 13:58, 17 October 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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可以认为，清代的旗学教育从一开始便受到统治者重视与支持。如若不然，则汉籍的满文译本想要进入旗学，必不可能。以《孝经》为例，该书初由阿什坦以满文译成，后被用作旗学教材，其中原因即得益于顺治帝“以孝治天下”的战略。雍正年间，世宗同样力主孝道，以孝道为立教之原、立身之要，令儒臣“专译经文”，以便习诵。[]&lt;br /&gt;
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It is believed that the education for the offsprings of Eight Banners was attached importance to and supported by the rulers from the very beginning. If it was not so, the Manchu translations of ancient classics of Han culture would never get into the schools for the offsprings of Eight Banners. Take ''The Book of Filial Piety'' as an example. The book was firstly translated by Ashtan with Manchu then was used as textbook for the schools. The reason of this is the strategy put forward by Shunzhi emperor that used the morality of filial piety to run the country. During the ruling years of Yongzheng emperor, he also emphasized the morality which should be the source of education and the core of personal moral cultivation and ordered scholars and officials to translate relevant scriptures for study and recitation.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:19, 17 October 2021 (UTC)&lt;br /&gt;
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It was believed that the education for the School for Children of the Eight Banners in Qing Dynasty had received great attention and supported by the rulers from the very beginning. If this was not the case, it was absolutely impossible for the Manchu translations of Chinese books to get into the School. Take ''The Book of Filial Piety'' as an example, this book was firstly translated by Ashtan in Manchu then was used as a textbook for the School. And the reason for that was that the Emperor Shunzhi put forward the strategy, ruling the world with &amp;quot;filial piety&amp;quot;. During the year of Yongzheng emperor, he also thought highly of filial piety which should be the source of education and the core of personal moral cultivation. Besides, he also ordered confucian officials to specialize in translating scriptures for people to study and read.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 15:04, 17 October 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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最终，《孝经》又于雍正五年译印成满、汉合璧本，继续作为旗学教材之用，以助朝廷推行政策之需。当然，清代旗学教材并非仅有中央律定一途，各省驻防也有自行翻译、编纂和刊印者，如嘉庆年间杭州驻防将军萨秉阿重刻九鼐翻译的《戒赌十则》，广州将军衙门编纂的《满汉文八种》，以及光绪年间荆州驻防翻译总学也先后纂辑《吏治辑要》等，这些书籍虽非皇帝敕译、敕纂，但于清廷政治和地方政务亦有所合。上述书籍完成译印之后，即被用于旗学教育，进一步丰富了旗学教材的使用。&lt;br /&gt;
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At last, ''The Classic on Filial Piety'' was translated and printed into a version included both Manchu and Chinese during the 5th year of Yongzheng, continuing to be used as a teaching material for the School for Children of the Eight Banners in Qing Dynasty in order to meet the needs of the court to carry out a policy. Certainly, the central government was not the only way to set up the textbook of the School. There were also people who translate, compile and print by themselves in the provincial garrison, such as ''Ten Rules for Quitting Gambling'' translated by the nine incense tripod, Sa Bing E Zhong Ke, a general garrison in Hangzhou during the year of Jiaqing and ''Eight Kinds of Manchu and Chinese'' compiled by the General Government of Guangzhou, ''Summary of Official Administration'' successively complied by general translators of Jinzhou garrison during the year of Guangxu. Although these books were not translated and compiled under the order of the emperor, they had some similarities in Qing politics and local government affairs. Upon finishing the translation and printing of these books, they were used in the education of the School, which further enriched the use of its teaching materials.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 23:18, 16 October 2021 (UTC)&lt;br /&gt;
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In the end, ''The Classic on Filial Piety'' was translated and printed into a version included both Manchu and Chinese during the 5th year of Yongzheng, continuing to be used as a teaching material for the School for Children of the Eight Banners in Qing Dynasty in order to meet the needs of the court to carry out a policy. Certainly, the central government was not the only way to set up the textbook of the School. There were also people who translate, compile and print by themselves in the provincial garrison, such as ''Ten Rules for Quitting Gambling'' translated by the nine incense tripod, Sa Bing E Zhong Ke, a general garrison in Hangzhou during the year of Jiaqing and ''Eight Kinds of Manchu and Chinese'' compiled by the General Government of Guangzhou, ''Summary of Official Administration'' successively complied by general translators of Jinzhou garrison during the year of Guangxu. Although these books were not translated and compiled under the order of the emperor, they had some similarities with Qing politics and local government affairs. Upon finishing the translation and printing of these books, they were used in the education of the School( “Qixue”) , which further enriched the use of its teaching materials. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 04:57, 17 October 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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3.旗学教育中的翻译课业与考课。清代旗学的课业要求与其教学重点密切关联，因而考课上并无完全一致的情况。以国子监八旗官学为例，顺治元年即将学生分为习清书、习汉书两类。顺治以后，虽然朝廷对于该学的学生额数屡有调整，但类别上仍保持了原来的习清书、习汉书之分。&lt;br /&gt;
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Translation course and examination courses in the School(Qixue). The schoolwork requirements of the School in the Qing Dynasty are closely related to its teaching focus, so there is no completely consistent situation in the examination course. Take the official study of the Eight banners of Imperial College as an example, the first year of Shunzhi made students divided into two categories: some of them stydied the Qing Book and the others studied Han Book. After Shunzhi, although the imperial court had repeatedly adjusted the number of students in the study, it still maintained the original study of Qing and Han books in the category. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 04:46, 17 October 2021 (UTC)&lt;br /&gt;
Translation course and examination in flag school education. The academic requirements of the flag school in the Qing Dynasty were closely related to its teaching priorities, so there was no complete consistency in the examination. Taking the Eight Banners official school of the Imperial College as an example, in the first year of Shunzhi, students will be divided into two categories: learning Qingshu and learning Hanshu. After Shunzhi, although the imperial court repeatedly adjusted the number of students in the school, it still maintained the original classification of learning Qing books and learning Han books.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 12:07, 18 October 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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如雍正五年，世宗令每旗额设国子监八旗官学生一百名，其中满洲六十名，仍分习清文、习汉文，蒙古和汉军各二十名，课业上虽无明确规定，但循例仍应分为两类：习蒙文、汉书，以及习清书、翻译。据时任国子监祭酒孙嘉淦奏报，朝廷在取录学生时，对于习清书、习翻译者的年龄要求有所不同，其中“学满书者，可用幼穉之人”，而“学汉文翻译者，必得十四五以上、资性聪敏之人。”[] 鄂尔泰等修，李洵、赵德贵点校：《八旗通志·初集》，长春：东北师范大学出版，1986年，第913-917页。&lt;br /&gt;
For example, in the fifth year of Yongzheng, Emperor Shizong ordered to set up 100 students of the eight banners of the Imperial College, including 60 in Manchuria, who were still divided into Qing and Chinese, and 20 in Mongolia and the Han army.  Although there were no clear regulations on their schoolwork, they should still be divided into two categories: learning Mongolian, Chinese, Qing and translation. According to the memorial of sun Jiagan, then the Imperial College's eunuch, when recruiting students, the imperial court had different age requirements for Xi Qingshu and Xi translators. Among them, &amp;quot;those who have learned a lot of books can use young people&amp;quot;, while &amp;quot;those who have learned Chinese translators must have more than 15 years of experience and intelligence.&amp;quot;&lt;br /&gt;
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For example, in the fifth year of Yongzheng’s reign, Emperor Shizong ordered to admit 100 students of the eight banners of the Imperial College, 60 of which are Manchurians, divided into two groups correspondingly learning works of Qing Dynasty and Han Dynasty, and the rest of which are soldiers of Mongolia and  Han dynasty.  Although there were no clear regulations on their learning content, they should still be divided into two categories: learning Mongolian, Works of Han dynasty, and works of Qing dynasty and translation. According to the memorial of sun Jiagan, then the Imperial College's eunuch, when recruiting students, the imperial court had different age requirements for Xi Qingshu and Xi translators. Among them, &amp;quot;those who have learned a lot of books can use young people&amp;quot;, while &amp;quot;those who have learned Chinese translators must have more than 15 years of experience and intelligence.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:52, 20 October 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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自此以后，国子监八旗官学中教习翻译渐成定例。如乾隆年间，国子监议定《八旗官学生条例》，对学生的平时学习、例行测验等做了具体规定，从设立“到学薄”与“功课薄”等，到设立“常课”、“会课”、“会考”等，都是如此。其中，无论是每月一次的常课、会课，还是每年于春、秋二季各办一次的会考，考试环节和内容上均设有翻译一项，只不过考试翻译也分“满馆试”与“蒙古试”，前者试翻译或者清书一题，后者试蒙古翻译一题。[]&lt;br /&gt;
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Since then, translation teaching has gradually become a routine for the Eight Banners officers in the Imperial Academy. For example, during the reign of Emperor Qianlong, the Imperial Academy proposed the ''Regulations on the Eight Banners Students'' which stipulated specifically their daily study and routine examination, from setting up the attendance record and academic performance record  to the establishment of system of regular class, meeting class and general examination. Among them, not only the monthly regular class and meeting class, but also the general examination which were held every spring an autumn, set the translation part and content. There were mainly two types of such translation tests, including Manchu test and Mongolian test, in which the former translated the book in the language of Qing Dynasty  ,while the latter tried the question of Mongolian translation.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 03:21, 17 October 2021 (UTC)&lt;br /&gt;
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Since then, teaching translation for the Eight Banners official school of the Imperial Academy has gradually become a rule. For example, during the reign of Emperor Qianlong, the Imperial Academy agreed on the regulations on eight banner students , which made specific provisions on students' daily study and routine tests, from the establishment of &amp;quot;attendance record&amp;quot; and &amp;quot;homework record&amp;quot; to the establishment of &amp;quot;regular classes&amp;quot;, &amp;quot;meeting classes&amp;quot; and &amp;quot;general exams&amp;quot;. Among them, whether it is the regular classes and meeting class once a month or the general examination held once a year in spring and autumn, there is a translation item in the examination links and contents, but the examination translation is also divided into &amp;quot;Manchu test&amp;quot; and &amp;quot;Mongolian test&amp;quot;, in which the former examined Manchu translation ,while the latter tested the question of Mongolian translation.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 03:48, 17 October 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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之所以要如此组织考试，是为了对师、生形成教、学的压力，特别是对学生的懒惰浮游进行责罚，以励其学。为此，朝廷在教习的选任与考课的要求上，也有严格规定。据孙嘉淦奏报，国子监八旗官学一般为“一旗三学”，即满书（习翻译者往往入满书房）、汉书、蒙文，每学设讲诵之所三、四间，故以每旗三学计，共十三、四间不等。&lt;br /&gt;
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The reason why the examination is organized in this way is to put the pressure on teachers and students in their teaching and learning , especially to punish the lazy and idle students, so as to encourage them to learn. Therefore, the imperial court also had strict regulations on the selection and examination. According to Sun Jiagan's petition, the eight banners official school of the imperial academy usually set ''three courses for one banner'' , that is, Manchu (learners who study translation need  to study in Manchu study), Chinese and Mongolian. Each course has three or four places for recitation. Therefore, based on the three courses of each banner, there are thirteen or fourteen classrooms in total.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 03:05, 17 October 2021 (UTC)&lt;br /&gt;
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The reason for organizing examinations in this way was to put  pressure on teachers and students in their teaching and learning , especially to punish the lazy and idle students, so as to encourage them to learn. Therefore, the imperial court also had strict regulations on the selection and examination. According to Sun Jiagan's petition, the eight banners official school of the imperial academy usually set ''three courses for one banner'' , that is, Manchu (learners who study translation need  to study in Manchu study), Chinese and Mongolian. Each course has three or four places for recitation. Therefore, based on the three courses of each banner, there are thirteen or fourteen classrooms in total.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 15:05, 17 October 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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顺治二年，朝廷为每处选任教习十人，乾隆十七年裁撤各旗汉教习一人，并将教射教习咨回本旗，但乾隆三十一年，又于每旗添设满教习一人，专门负责翻译和清书的教授，同时因为汉教习名下已经拨出翻译学生，故将汉教习裁减一名。考课上，国子监八旗官学在经历顺、康、雍、乾四朝年间，也有调整与变化。顺治二年，关于国子监八旗官学的考课规定是“每十日一次赴监考课，遇春秋演射，五日一次，就本处练习”，至康熙元年，考课规定中增加了翻译内容，调整为“每月赴监讲书一次、翻译一次，五日射箭一次。”[]&lt;br /&gt;
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In the second year of the Shunzhi dynasty, the court selected ten teaching staff for each office, and in the seventeenth year of the Qianlong dynasty, the Chinese teaching staff of each banner was abolished, and the teaching staff of archery was consulted back to the banner, but in the thirty-first year of the Qianlong dynasty, a full teaching staff was added to each banner, specifically responsible for the teaching of translation and Qing books, and at the same time, because the name of the Chinese teaching staff had been allocated to translation students, so the Chinese teaching staff was reduced by one. Examinations, the eight banners of the National Palace of education in the years of Shun, Kang, Yong, Qian four dynasties, there are also adjustments and changes. Shunzhi two years, on the eight banners of the National Palace of Justice official school examination class is &amp;quot;once every ten days to go to the prison examination class, in the event of spring and autumn shooting, once every five days, on the practice of this place&amp;quot;, to the first year of the Kangxi, examination class regulations added translation content, adjusted to &amp;quot;once a month to the prison lecture, translation once, five days archery once.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 15:01, 17 October 2021 (UTC)&lt;br /&gt;
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In the second year of the Shunzhi’s reign, the court selected ten teaching staffs for each office, and in the seventeenth year of the Qianlong’s reign, the Chinese teaching staff of each county was laid off, and the teaching staff of archery was consulted back to the county, but in the thirty-first year of the Qianlong dynasty, a Manchu teaching staff was added to each banner, specifically responsible for the teaching of translation and Manchu  books, and at the same time, since students for translation had been selected from Chinese teaching staffs, so the Chinese teaching staff was reduced by one. In the examination, the eight banners of the National Palace of education in the years of Shun, Kang, Yong, Qian’s reign, saw adjustments and changes. In the second year of Shunzhi’s reign, on the eight banners of the National Palace of Justice official school examination class was &amp;quot;once every ten days to go to the prison examination class, in the event of spring and autumn shooting, once every five days, on the practice of this place&amp;quot;, to the first year of the Kangxi, examination class regulations added translation content, adjusted to &amp;quot;once a month to the prison lecture, translation once, five days archery once.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 02:41, 20 October 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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至乾隆三十一年，进一步提高了考课要求，规定习汉文者在肄业十年之后，如不能获得进身，以及习翻译和清文者如不能考取中书、笔帖式、库使等，均一律咨送本旗，另挑差使。&lt;br /&gt;
宗学的情况也与国子监八旗官学的情况类似，其教学重点、教习选任，以及考课规定等同样经历了调适。如顺治九年，宗学于每旗设满洲官，教习满书。雍正二年，朝廷从各部院司官中书中，分别拣选清书、汉书和骑射教习四人，每翼分派二人。&lt;br /&gt;
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Till the 31st year of Qianlong’s reign, the requirement for examination was higher. It was said that those who were good at Chinese but failed to be office in a decade and those who were skilled in translation and Manchu but failed to obtain Zhongshu, Bi Tieshi, Kushi and so on through examination, would all be sent back to where they belonged and be replaced by others.&lt;br /&gt;
Zongxue, school for royal family told the same story. The focus of education and the selecting system also saw adjustments. Take the ninth year of Shunzhi’s reign for example. Zongxue assigned Manchu officer in every county to teach. In the second year of Yongzheng’s reign, the court selected four people as Qingshu, Hanshu, coach for horse riding and archery from every department. Two persons were appointed in each county.&lt;br /&gt;
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Till the 31st year of Qianlong's reign, the court enhanced requirement for examination. It was said that those who were good at Chinese but failed to be office in a decade and those who were skilled in translation and Manchu but failed to obtain Zhongshu, Bi Tieshi, Kushi and so on through examination, would all be sent back to where they belonged and be replaced by others. Zongxue, school for royal family told the same story. The focus of education and the selecting system also saw adjustments. Take the ninth year of Shunzhi's reign for example. Zongxue assigned Manchu officer in every county to teach. In the second year of Yongzheng's reign, the court selected four people as Manchu, Chinese, coach for horse riding and archery from every department. Two persons were appointed in each county.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:09, 20 October 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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至乾隆四年，在选任宗学教习时，改为以学生人数为基础进行选派，即每十人选派一名。然而，由于乾隆二十一年起，翻译和清书、骑射一样，成为宗学的三大教学重点之一，于是朝廷裁减了九名汉书教习，俱改为翻译教习。嘉庆朝时期，翻译仍是宗学的教学重点，因而翻译教习得以保留，同时又因为复设了习汉书科目，于是对汉教习进行了改设，规定两翼每学各四名。&lt;br /&gt;
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In the 4th year of Qianlong reign, when selecting teachers of royal clan education, the selection was based on the number of students, that is, one for every ten students. However, since the 21st year of Qianlong, translation became one of the three major teaching points of royal clan education, just like Manchu and horsemanship and archery. Therefore, the court cut down nine Chinese teachers and changed Chinese teaching to translation teaching. During Jiaqing Dynasty, translation teaching was still the focus of royal clan education, so the teaching of translation was kept. At the same time, because of the re-establishment of the subject of Learning Chinese, the court reformed Chinese teachers and assigned 4 teachers for every subjects of two parts.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:17, 18 October 2021 (UTC)&lt;br /&gt;
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In the 4th year of Qianlong reign, the selection for teachers of royal clan education was based on the number, that is, one for every ten students. However, since the 21st year of Qianlong, translation has become one of the three major teaching points of royal clan education, just like Manchu classics and horsemanship and archery. Therefore, the court cut down and changed nine Chinese teachers to translation teachers. During Jiaqing Dynasty, translation teaching was still the focus of royal clan education, so the teaching of translation was kept. At the same time, because of the re-establishment of the subject of Chinese classics, the court reformed Chinese teachers and assigned four teachers for every subjects of two parts.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 13:32, 19 October 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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考课上，由于乾、嘉两朝中翻译本是宗学的教学重点，考课中自然设有翻译内容。即便在乾隆朝早期，当教学重点主要为清书、汉书和骑射时，朝廷也在左、右翼两学设“总稽课程”各二人，并规定于每月举办考试三次，含经义、射艺和翻译考试各一次，且每年于秋季举办考试一次，其中含翻译、经义、时务策各一题。&lt;br /&gt;
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In the examination, because the translations in the Qian and Jia Dynasties were the focuses for royal clan education, the translation content was naturally included. Even in the early Qianlong Dynasty, when the teaching focus was mainly on the Qing classics, the Han classics and horsemanship and archery, the imperial court also set up two &amp;quot;general inspectors for courses&amp;quot; on both the left and right sides, and stipulated to hold examinations three times a month, each for one subject of classics, horsemanship and archery and translation, and once a year in the autumn, of which the three questions are respectively about translation, classics and current affairs.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 14:13, 19 October 2021 (UTC)&lt;br /&gt;
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of which the three questions are respectively about translation, classics and current affairs and policies.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:09, 20 October 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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礼部义学、咸安宫官学、觉罗学、清文学、盛京宗学和觉罗学等旗学中，翻译考试同样是考课的重要内容。如乾隆五年，礼部选派司员对礼部义学生进行每日稽考，规定学生需每季到部考课翻译经义，以及背书写字等，考试情况详登册籍，年终以优劣决定学生去留。雍正十二年，朝廷对咸安宫官学的教习额数进行调整，将原来所设清语教习九人裁撤三人，俱改为翻译教习，并对考课内容进行了明确规定，即五年考试一次，一次考试三日：第一日考试汉文，拟以《四书》二题的方式进行；&lt;br /&gt;
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The translation examination is also an important part of the examination course in Yi school, Official school of Xian 'an Palace, Jueluo school, Qing Dynasty Literature, the Royal Clan Education of Shengjing and Jueluo school of the Ministry of Rites.For example, in the fifth year of the Qianlong dynasty, the Ministry of Rites selected and assigned administrators to carries on the daily assessments to the student of the Ministry of Rites, stipulating that students should come to the ministry every quarter to take tests on the translation of Confucian classics argumentation, as well as recite and write, etc. The examination conditions were listed in the books in detail, and the students were decided to stay or leave at the end of the year based on their merits.In the 12th year of Yongzheng,The imperial court adjusted the number of teachers in the Official school of Xian 'an Palace, removing three of the nine qing language teachers and changing them to translation teaching.The content of the examination was clearly stipulated, that is, the examination was conducted once every five years and each examination was conducted for three days: Chinese was tested on the first day, which was planned to be carried out in the way of two questions in the ''Four Books''&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:22, 17 October 2021 (UTC)&lt;br /&gt;
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The examination conditions were listed in the books in detail, and the students were decided to stay or leave at the end of the year based on their merits.In the 12th year of Yongzheng,The imperial court adjusted the number of teachers in the Official school of Xian 'an Palace, removing three of the nine qing language teachers and changing them to translation teaching.The content of the examination was clearly stipulated, that is, the examination was conducted once every five years and each examination was conducted for three days: Chinese was tested on the first day, which was planned to be carried out in the way of two questions in the Four Books.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:28, 29 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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第二日考试翻译、楷书和清字，拟以上谕一段进行；第三日考试骑射、步射。至于觉罗学、清文学、盛京宗学与觉罗学等，虽然考课规定中并没有明确提及翻译，但二者都设有翻译教习，可知翻译教学仍是其教学的重要内容。如雍正七年规定，各部院衙门现任笔帖式中，需考选能翻译者八人，充任觉罗学之清书教习，每旗各分一人。&lt;br /&gt;
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The next day they took a translation，kai calligraphy and Qing text, which was intended to be tested with part of the emperor's imperial edict; On the third day they tested their horse archery and rifle shooting.As for Jueluo school, Qing Literature, the Royal Clan Education of Shengjing and Jueluo school, Although there was no explicit reference to translation in the examination rules, both had translation teaching. It could be known that translation teaching is still an important part of teaching. For example，the 7th year Yongzheng ruling period，be stipulated that among the current officials in various departments and yamen, Eight translators need to be selected as teachers for Manchu language of the Royal Clan Education of Jueluo school through the exam，they choosed one person per banner.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 08:16, 20 October 2021 (UTC)&lt;br /&gt;
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The next day they took a translation，kai calligraphy and Qing text, which was intended to be tested with part of the emperor's imperial edict; On the third day they tested their horse archery and rifle shooting.As for Jueluo school, Qing Literature, the Royal Clan Education of Shengjing and Jueluo school, Although there was no explicit reference to translation in the examination rules,translation teachers were arranged. So it is could be seen that translation teaching is still an important part of teaching. For example，In the the 7th year of Yongzheng ruling period，it is stipulated that among the current officials in various departments and yamen, Eight translators need to be selected as teachers for Manchu language of the Royal Clan Education of Jueluo school through the exam，they choosed one person per banner.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:54, 20 October 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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同年，又规定清文学教习由汉军各旗会同满洲都统，从满洲闲散官、笔帖式，或者因公诖（guà）误（即，撤职或失官）人员中加以拣选。乾隆八年，朝廷对教习的年龄进行限制，要求翻译教习、清书教习均需年逾三旬。[]既然以上诸学中均设有翻译教习，各学官学生均需要接受翻译教学的内容与环节，那么考课中势必也不能离开翻译。&lt;br /&gt;
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In the same year, it also made clear that the Qing literature teachers should be selected by the Han Army in the Eight Bannered Army of Qing Dynasty and the commander-in-chief of one of the Eight Banners selected from the manchurian idled officials, clerks, or those who had been dismissed or lost their official posts in the line of duty. In the eighth year of Emperor Qianlong’s reign, the imperial court imposed restrictions on the age of teaching, requiring teachers for  translation and Manchu language to be over 30 years old. Since translation teaching is provided in all the above schools, and all students and officials need to accept the content and links of translation teaching, it is inevitable that examination cannot be separated from translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 06:34, 20 October 2021 (UTC)&lt;br /&gt;
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In the same year, it also made clear that the Qing literature teachers should be selected by the Han Army in the Eight Bannered Army of Qing Dynasty and the commander-in-chief of one of the Eight Banners selected from the manchurian idled officials, clerks, or those who had been dismissed or lost their official posts in the line of duty. In the eighth year of Emperor Qianlong’s reign, the imperial court imposed restrictions on the age of the teachers, requiring that the teachers who teach translation and Manchu language should be over 30 years old. Since the above schools all have translation teachers and all students (the students in the official schools of Eight Banners) need to accept the contents and procedures of translation teaching, it is inevitble that translation should be included in the examination.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 12:21, 22 October 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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而盛京宗学觉罗学自设立之初便有详细章程，如规定宗学、觉罗学分别教学，宗学和觉罗学皆由宗学总管管理等。由于该学中翻译一直是教学重点，因而翻译教习的设置更不可缺。如乾隆二年，即设翻译教习四人，与骑射、汉书教习人数相等。乾隆四十三年，汉教习被裁撤，但仍保留翻译教习与骑射教习。&lt;br /&gt;
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There are detailed regulatios since the inception of the school of Royal Clan in Mudken and Jueluo. For example, school of Jueluo and Royal Clan teaches respectively and both are managed by General Administration office. It is indispensable to have translation teachers because translation is the teaching key point in this school. In the second year of emperor Qianlong, there are four translation teachers, equal to the number of teachers of equitation and toxophily and Han books.In the 43th year of Qianlong, teaching Han books was abolished while the teaching of translation and equitation and toxophily were still retained.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 12:57, 24 October 2021 (UTC)&lt;br /&gt;
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There are detailed regulatios since the establishment of the School of Shengjing Royal Clan Education and Jue Luo. For example, school of Jueluo and Royal Clan teached respectively and both are managed by General Administration office. The translation teachers are indispensable because translation is the teaching key point in this school. In the second year of Qianlong, there are four translation teachers, equal to the number of teachers of equitation and toxophily and Han books.In the 43th year of Qianlong, the teacher of Han books was dismissed while the teacher of translation and equitation and toxophily still retained.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:00, 22 October 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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至嘉庆年间（如嘉庆二年、二十五年），盛京宗学觉罗学虽然增设了满、汉教习，但翻译教习也属重要。盛京宗学觉罗学对教习进行分类选拔，即从现任司官笔帖式内选取精通翻译者，教习清语；从领催骁骑以上和闲散官员以下挑选精于骑射者，教习骑射；从奉天府举贡内挑选学问优长者，教习汉书。三者各自皆为四人，待五年期满后分别考以等第，并据此进行奖惩。&lt;br /&gt;
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During the period of Jiaqing (such as the second and twenty fifth years of Jiaqing), although the Manchu and Chinese teaching were added to The School of Shengjing Royal Clan Education and Jue Luo, the translation teaching was also important. The School of Shengjing Royal Clan Education and Jue Luo classified and selected the teaching, that is, select the proficient translators from the officials Bithesi to teach the Qing language;choose those who are good at riding and shooting from those above the leader cavalry and those below the idle officials to teach riding and shooting; select the learned elders from the tributes of Fengtian Mansion to teach Han Shu. Each of the three is four. After the five years'expiration, they will be graded respectively, and will be rewarded and punished accordingly.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:07, 17 October 2021 (UTC)&lt;br /&gt;
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During the period of Jiaqing (such as the second and twenty fifth years of Jiaqing), although the Manchu and Chinese teaching were added to The School of Royal Clan Education and Jue Luo in Shengjing, the translation teaching was also important. The School of Royal Clan Education and Jue Luo in Shengjing classified and selected the teaching, that is to select the proficient translators from the officials Bithesi to teach the Manchu; to choose those who were good at riding and shooting from those above the leader cavalry and those below the idle officials to teach riding and shooting; and to select the learned elders from the tributes of Fengtian Mansion to teach Han Shu. Each of the three needed four people. After the five years'expiration, they will be graded respectively, and will be rewarded and punished accordingly.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 08:07, 18 October 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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虽然盛京宗学觉罗学也将学生分成习清书、习汉书两类，但无论清书汉书，每日皆有应肄之业，且习清书者兼讲汉书，习汉书者则兼讲满书，目的就在于使学生兼通满、汉，造就翻译之才。教学管理上，盛京宗学觉罗学也对骑射与翻译做了区分，即每逢三、六、九日学习射箭，而每逢五、十日学习翻译，以及作文作诗。盛京宗学觉罗学初用的教材较为简单，后经李治滋奏准，高宗于乾隆九年颁赐《资治纲目》、《大学衍义》、《性理大全》、《古文渊鉴》及《钦定四书》等满汉书籍，其中多数为满文译汉文典籍。&lt;br /&gt;
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Schools of Royal Clan and Jueluo in Mudken also classified students into two kinds: students studying books of Manchu and students studing books of Han. Even so, students should study everyday no matter books of Manchu or books of Han; those students studying books of Manchu should also study books of Han, and vice versa.In terms of teaching management, schools of Royal Clan and Jueluo also made a distinction between horsemanship and transaltion, that was, students learnt archery on every three, six and nine days and learnt translation, writing composition and Poetry on every five and ten days.The original textbooks used in thses schools were relatively simple, and later some others textbooks were awarded by Gaozong at Li Zhi's suggestion in the ninth year of emperor Qianlong's reign. These books included &amp;quot;Compendium of Zi Zhi&amp;quot;, &amp;quot;University Spread Meaning&amp;quot;, &amp;quot;Collections of Neo-Confucianism&amp;quot;, &amp;quot;Collections of Previous Dynasties Proses&amp;quot; and &amp;quot;The Imperial Four Books&amp;quot;, most of which were translated into Chinese from Manchu. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 08:10, 18 October 2021 (UTC)&lt;br /&gt;
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Although Schools of Royal Clan and Jueluo in Mudken also classified students into two categories: students studying books of Manchu and students studing books of Han,students should study everyday no matter books of Manchu or books of Han; those students studying books of Manchu should also study books of Han, and vice versa.In terms of teaching management, schools of Royal Clan and Jueluo also made a distinction between horsemanship and transaltion, which is, students learnt archery on every three, six and nine days and learnt translation, writing composition and Poetry on every five and ten days.The original textbooks used in thses schools were relatively simple, and later some others textbooks were awarded by Gaozong at Li Zhi's suggestion in the ninth year of emperor Qianlong's reign. These books included &amp;quot;Compendium of Zi Zhi mu&amp;quot;, &amp;quot;College Yan Yi&amp;quot;, &amp;quot; Xingli Daquan&amp;quot;, &amp;quot;Gu Wenyuan Jian&amp;quot; and &amp;quot;The Imperial Four Books&amp;quot;, most of which were translated into Chinese from Manchu.&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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当然，旗学与旗学之间亦有明显区别，如设立时间早晚不同，条例规范详略有异等，但在教学重点上，清书和骑射是其共设科目。在此基础上，不少旗学另从汉书、翻译、蒙文等科目中进行选择，使其符合自身的置办初衷和培养目标。一般来说，学生学习清书、汉书、骑射或（和）翻译等，都得在旗学中按部就班地进行，并随时接受稽查与考核，但宗室和大臣子弟循例可在家学习，这一点给课业及考课造成困难。&lt;br /&gt;
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Of course, there are also obvious differences between the flag school and the other flag school, such as its establishment time, and the detailed regulations and norms. However, in terms of the focus of teaching, the Qing book and riding and shooting are their common subjects. On this basis, many flag schools choose from Chinese, translation, Mongolian and other subjects to make them meet their original intention and training objectives. Generally speaking, students who study Qingshu, Hanshu, riding and shooting or (and) translation have to go step by step in the flag school and accept inspection and assessment at any time. However, the clan and minister's children can study at home as the rule, which makes it difficult for schoolwork and examination.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 01:54, 23 October 2021 (UTC)&lt;br /&gt;
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Of course, there were also obvious differences between the banner school, such as the time of establishment, and the details of regulations were slightly different, but in teaching focus, the Qing book and riding and archery were the common subjects. On this basis, many banner school chose other subjects such as Chinese classics, translation, Mongolian and so on, so as to met their original intention and training objectives.Generally speaking, students learned Qing book ,Chinese classics, equestrian archery or (and) translation, etc., had to be carried out step by step in the  banner school, and to accept inspection and assessment at any time, while royalty and the children of ministers could always study at home, which caused difficulties in the course and examination.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:32, 23 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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如雍正十三年十一月十八日，即乾隆帝即位之初，监察御史玛起元上疏高宗，奏请将八旗荫生拨入各旗义学，一体肄业，并交国子监堂官不时考察，择其娴习经书、通晓翻译者，咨送吏部考试补用。[]乾隆三十九年，高宗因见宗室中竟有不会清语者，令宗人府查明情况。遗憾的是，虽然朝廷对于学生的选补多所要求，对于教习的选任也有规定，并对学生和教习的勤惰不时稽查，但各项规范行之日久，难免废弛。如《钦定国子监则例》中，曾详细记载“满教习报满”、“汉教习报满”的情况，其中写道：&lt;br /&gt;
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Such as on November 18, 13th year of Yongzheng, which is the beginning of the Emperor Qianlong ascended the throne , the Supervisory Censor Ma Qiyuan reported to the emperor that sent the heirs of Eight Banners to the free school and study together. And sometimes the administer of the Imperial College would test them and chose some person who master the classics or translation to the Ministry of Official Personnel Affairs for supplement. On 39th year of Qianlong, the emperor commanded the office to find out, as he found that some one who cannot speak Manchu in imperial clan. Unfortunately, though the royal had lots of requirements for those students and teachers. And they also checked the students and teachers for laziness from time to time, but the rules had been in place for so long that they were likely to fall apart. Such as some precisely examples in The Regulation of the Imperial College for “Manchu class in full” or “Chinese class is full”, written that:--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:13, 17 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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For example, on November 18, the thirteenth year of Yongzheng, which was the beginning of the Emperor Qianlong ascended the throne , the Supervisory Censor Ma Qiyuan proposed to the emperor that sent the heirs of Eight Banners to the free school and study together. And sometimes the administers of the Imperial College would test them and chose some persons who master the Confucian classics or translation to the Ministry of Official Personnel Affairs for supplement. On the thirty-ninth year of Qianlong, the emperor commanded the office to find out the learning process, as he found that some one who cannot speak Manchu in imperial clan. Unfortunately, though the royal had lots of requirements for those students and teachers. And they also supervised the students and teachers from time to time, but the rules had been implemented for so long that they were likely to fall apart. Such as some precisely examples in The Regulation of the Imperial College for “Manchu teaching staff expired”or “Chinese teaching staff expired”, written that:--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:13, 19 October 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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（满教习报满）将本名下学生，注明到学几年，現读何书，翻译几名，造冊移交档房，按日积算，如功课缺少，毫无成效者，教习不准报满，助教记大过一次；（汉教习报满）除将考中生员、恩监生、中书等学生开具清冊外，其现在读书者几名，某生若干岁，读经书若干卷；作文者几名，某生若干岁，读过古文、时文若干篇，某作起讲，某半篇，某全篇，并各学生入馆年分，详细造具清冊二本，……满教习报满，亦照此例。[]&lt;br /&gt;
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（Manchu teaching staff expired）The students under the teacher's name shall be recorded that how many years they have studied, where they are studying now, how many translators have been trained, and the list of students shall be compiled and handed over to the archives room. It shall be recorded on every specific day, if they were absent from class and had no effect in learning, the teacher is not allowed to declare that their work has expired, and the teaching assistant will be recorded a major demerit once.&lt;br /&gt;
（Chinese teaching staff expired）In addition to making a list of such students like scholars, the students of the Imperial college, and Zhongshu, it should be recorded that how many of them are still studying, indicating their age and how many volumes of Confucian classics they have read; It also should be recorded that the number of writers, indicating their age, how many classics and Eight legged Essay they have read, articles they have discussed, which half or the whole, and the year of admission of each student should be  registered in the two brochures in detail. When Manchu teaching staff expired，they should also follow this regulation.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:18, 19 October 2021 (UTC)&lt;br /&gt;
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（Manchu teaching staff expired）The students under the teacher's name shall be recorded as to their period of schooling, books they were reading as well as the amount of translation they had done, which shall be compiled and handed over to the archives room. It shall be recorded on every specific day, if they were absent from class and had no achievement in learning, the teacher shall not declare expiration of their study, and the teaching assistant would be recorded a major demerit for once.&lt;br /&gt;
（Chinese teaching staff expired）In addition to making a list of such students as scholars, the students of the Imperial college, one book should be compiled in detail to include the number of students,their age,the number of Confucian classics they had read,the other the number of writers and their age,classics and Eight legged Essays they had read,the abstract of their articles,  half or the whole, and the year of admission of each student. When Manchu teaching staff expired，they should also follow the suit.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 07:07, 22 October 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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所谓“报满”原指官员任期届满，或历俸已满之意，此处当指教习的期满考核。由此可见，国子监八旗官学中的教习，无论满、汉，在任满三年之职后，都需要将个人名下学生的学习情况，及其绩效等，详细说明并造册入档，作为嗣后铨补的重要依据。同时，也说明国子监对于学生考课，以及教习考核的严格与认真，可谓赏罚分明。如乾隆二十一年，高宗谕令改圆明园学专习清书，以倡导满族传统特质之后，经礼部议准，规定嗣后生徒如能在四年期满时，由翻译考取录用，则“该教习列为一等”。[]&lt;br /&gt;
The so-called &amp;quot;full&amp;quot; originally referred to the expiration of an official's term of office, or that he had served a certain period of time, but here refers to the assessment of the instructors for their fulfillment of duty. It could be seen that the instructors in the Eight Banners Official School of Qing Dynasty were required, regardless of being Manchu or Han people, to make detailed explanations and recordings of their students' learning and performance after serving for three years. Meanwhile, it also showed that the Official School was strict and serious about the examination for students and the assessment for instructors, which could be described as putting the shoe on the right foot. For instance, in the 21st year of Emperor Qianlong's reign,after Emperor Gaozong had ordered to specialize in Manchu language for the purpose of promoting traditional Manchurian characteristics, the Ministry of Rites approved that &amp;quot;the instructor should be ranked first class&amp;quot; if the subsequent students could pass the translation examination and get employed by the end of four-year period of his duty.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:49, 19 October 2021 (UTC)&lt;br /&gt;
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The so-called &amp;quot;full&amp;quot; originally referred to the expiration of an official's term of office, or that he had served a prescribed period of time, but here refers to the assessment of the instructors for their fulfillment of duty. Therefore, it could be seen that the instructors in the Eight Banners Official School of Qing Dynasty were required, regardless of being Manchu or Han people, to make detailed explanations and recordings of their students' learning and performance after serving for three years. Meanwhile, it also showed that the Official School was strict and serious about the examination of students and the assessment of instructors, which could be described as putting the shoe on the right foot. For instance, in the 21st year of Emperor Qianlong's reign, after Emperor Gaozong had ordered to specialize in Manchu language for the purpose of promoting traditional Manchurian characteristics, the Ministry of Rites approved that &amp;quot;the instructor should be ranked first class&amp;quot; if the subsequent students could be employed after examination by the end of four-year period of his duty.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:03, 19 October 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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无奈好景不长，至嘉庆、道光年间，国子监八旗官学中教习虚开功课，且学生不常入学肄业的情况并不鲜见。虽然皇帝对此已有觉察，并明令禁止，但终因积习日久，难以遏止，因而整顿旗学之事，有名而无实。清代对于翻译人才的需求源于内生、外在双方面因素的合力。&lt;br /&gt;
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But it didn't last until Jia Qing and Dao Guang period, when it was common to see the eight Banners of the Imperial Academy teaching lessons irresponsibly, and students didn't often attend the school or study in the school. Although the Emperor had become aware of and prohibited it, this phenomenon, with the bad customs for a long time, couldn't be curbed. Therefore, the rectification of the learning of Manchu culture exists in name only. The demand for translation talents in Qing Dynasty stemmed from internal and external factors.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:16, 16 October 2021 (UTC)&lt;br /&gt;
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But it didn't last until Jia Qing and Dao Guang period, when it was common to see the eight Banners of the Imperial Academy teaching lessons, and students didn't often attend the school or study in the school. Although the Emperor had become aware of and prohibited it by official order, this phenomenon, with the bad customs for a long time, couldn't be curbed. Therefore, the rectification of the learning of Manchu culture existed in name only. The demand for translation talents in Qing Dynasty stemmed from internal and external factors together.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 06:12, 19 October 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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从内部讲，清代以异族取得政权，历代君主及其统治集团都以八旗为国家根本，又以清语为八旗根本，因而旗人必须学习清语，或具备清语能力。与此同时，为了稳固统治，使旗人“足充任用”，满族又得与其他族群沟通和交流。多语种能力的养成既是翻译的前提条件，又为翻译提供了现实可能。&lt;br /&gt;
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From the inside, the Qing Dynasty took power by their different race, all previous emperors and their ruling cliques took the eight banners as the foundation of the country, and the Qing language as the foundation of the eight banners, so the banner men must learn the Qing language or had the ability of the Qing language. At the same time, the Manchu had to communicate with other ethnic groups in order to maintain their rule and made the banner men “fully employed”. The cultivation of multilingual competence was not only a prerequisite for translation, but also provided a realistic possibility for translation.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 06:02, 19 October 2021 (UTC)&lt;br /&gt;
At the same time, in order to stabilize the rule and make the flag people &amp;quot;full appointment&amp;quot;, the Manchu had to communicate and communicate with other ethnic groups.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 06:04, 20 October 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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清代的翻译教育与翻译人才培养，无疑也是政治考量的产物。尤其是清军入关后，面对语言文字、文化形态，以及政权结构迥异于自己的汉人族群，如何进行有效统治，维护并巩固统治基础，同时又不致满洲民族特质废弛，乃是统治者不得不考虑的问题。在此情形下，清初统治者循汉人国子监例，创设八旗官学，令八旗弟子学习语言、翻译和骑射等，便成为不二选择。这么做，既不失满洲特色，又增进了民族交流，对于呈现满洲特色的统治特征，以及扩大政权的参与基础等，意义重大。&lt;br /&gt;
The translation education and the training of translation talents in the Qing Dynasty are undoubtedly the product of political considerations.Especially after the Qing army entered the customs, facing the Han ethnic group whose language, cultural form and political power structure were very different from their own, how to effectively rule, maintain and consolidate the basis of rule, without the abandonment of Manchuria national characteristics, is the rulers have to consider the issue. Under such circumstances, the early Qing rulers followed the example of the Han Chinese National Sons, creating eight flag official studies, so that the eight-flag disciples learn language, translation and shooting, etc., will become the choice. In doing so, it has not lost the manchuria characteristic, but also enhanced the national exchange, which is of great significance for the ruling characteristics of Manchuria, and for expanding the participation base of the regime.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 05:58, 20 October 2021 (UTC)&lt;br /&gt;
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The translation education and the training of translation talents in the Qing Dynasty are undoubtedly the product of political considerations.Especially after Qing army entererd the frontiers, facing the Han ethnic group whose language, cultural form and political power structure were very different from their own, how to effectively rule, maintain and consolidate the basis of rule, without the abandonment of Manchuria national characteristics, is the rulers have to consider the issue. Under such circumstances, the early Qing rulers followed the example of the Han Chinese National Sons, creating eight flag official studies, so that the eight-flag disciples learn language, translation and shooting, etc., will become the choice. In doing so, it has not lost the manchuria characteristic, but also enhanced the national exchange, which is of great significance for the ruling characteristics of Manchuria, and for expanding the participation base of the regime.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:21, 20 October 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”；② 湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。&lt;br /&gt;
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* Fund Project: ① Humanities and Social Sciences Fund Project of the Ministry of Education:&amp;quot;A Study on Translation Policy in the Early and Middle Period of Qing Dynasty&amp;quot;; ② Social Science Fund Project in Hunan Province:&amp;quot;A Study on the Specific Form and Variation Track of Translation Policy in the Early and Middle Period of Qing Dynasty&amp;quot;, project approval No.: 20YBA131; ③ A Key Project of the Department of Education of Hunan Province:&amp;quot;A Study on Translation Policy in the Early and Middle Period of Qing Dynasty&amp;quot;, project approval No.: 20A222.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 08:40, 18 October 2021 (UTC)&lt;br /&gt;
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* Fundation Project: ① Research on ''Translation Policy in the Middle and Early Dynasties of the Qing Dynasty'', Ministry of Education, Humanities and Social Sciences Foundation Project; ② Research on the ''Specific Form and Change Trajectory of Translation Policy in the Middle and Early Dynasties of the Qing Dynasty'', Hunan Provincial Social Science Foundation Project, Project Approval No. 20YBA131: ③ Research on ''Translation Policy in the Middle and Early Dynasties of the Qing Dynasty'', a key project of Hunan Provincial Education Department, project approval number: 20A222.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:41, 19 October 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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清初旗学中的翻译教育及其变化过程*&lt;br /&gt;
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摘要：清初的旗学教育是内、外因素合力的结果，其目的是为了提升旗人素质，培养翻译人才，巩固国家统治。清初旗学教育及其翻译人才培养的整体脉络是：兴于顺治，隆于康、雍，驰于乾隆，废于嘉、道。&lt;br /&gt;
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Translation education in Banner schools in the early Qing Dynasty and its process of change*&lt;br /&gt;
Abstract: Banner school education in the early Qing Dynasty was the result of a combination of internal and external factors, and its aim was to improve the quality of bannerman, cultivate translators and consolidate national rule.The overall lineage of Banner school education and its training of translators in the early Qing Dynasty was that it began during the reign of Shunzhi emperor, flourished under the Kangxi and Yongzheng emperors, declined under the Qianlong emperor and was abolished under the Jiaqing and Daoguang emperors.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:31, 19 October 2021 (UTC)&lt;br /&gt;
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Translation education and its changing process in flag education in the early Qing Dynasty&lt;br /&gt;
Abstract: the flag  education in the early Qing Dynasty was the result of the joint efforts of internal and external factors. Its purpose was to improve the quality of flag people, cultivate translation talents and consolidate national rule. The overall context of flag  education and translation talent training in the early Qing Dynasty is starting in Shunzhi, prospering in Kang and Yong, declining in Qianlong, and abolishing in Jia and Tao.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 04:45, 19 October 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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旗学教育的发展、改革与兴盛，其原因主要在于三个方面：历代帝王的支持、满、汉族官员的鼓吹、满洲大儒的力倡。而造成旗学教育最终走向颓势并废弛的因素则包括民族融合的加剧、旗人学习意愿的消退，以及章程管理的松弛等。旗学中的翻译教育主要有两种不同途径，即普通旗学机构中的翻译教育，以及满、汉翻译学、翻译义学中的翻译教育，所培养的翻译人才成为各个时期处理文书，办理翻译事宜的重要来源。&lt;br /&gt;
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The reasons for the development, reform and prosperity of Banner schools mainly lie in three aspects: the support of emperors in previous dynasties, the advocacy of Manchu and Han officials, and the advocacy of Manchu Confucianism. The factors causing the decline of Banner schools include the intensification of national integration, the decline of banner people's willingness to learn, and the slack management of rules.There are mainly two different ways of translation education in Banner schools，namely, translation education in ordinary Banner schools institutions, and translation education in Manchu, Chinese translation and translation semantics. The trained translation talents have become an important source for dealing with documents and translation matters in various periods.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:17, 17 October 2021 (UTC)&lt;br /&gt;
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The reasons for the development, reform and prosperity of Banner education mainly lie in three aspects: the support of emperors in previous dynasties, the advocacy of Manchu and Han officials, as well as the advocacy of Manchu scholars. The factors causing the decline of Banner education include the intensification of national integration, the decline of Banner people's willingness to learn, and the slack management of regulations, etc. There are mainly two different ways of translation education in Banner education, namely, translation education in ordinary Banner education institutions, and translation education in Manchu, Chinese translatology and translation semantics. The trained translation talents provide an important source for dealing with documents and translation matters in various periods.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:54, 17 October 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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关键词：旗学；翻译教育；变化过程；翻译考试；汉书翻译1.引言。满洲以少数族群立国并统治中原，如何能保持民族特色，而又能与汉人交流，扩大政权的统治基础，乃是统治者不得不考虑的问题。而设置旗学，教授国语骑射，并推动翻译教育，乃是因应时势之举。&lt;br /&gt;
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Key words: the School for children of the Eight Banners; translation education; changing process; translation examination; the translation of History of Han Dynasty.&lt;br /&gt;
1. Introduction. Manchuria, which was found by minority ethnic groups, ruled the central plains. The rulers had to consider the questions like how to keep the national characteristics and communicate with the Han people to expand the ruling base of the regime. Therefore, the establishment of the School for the children of the Eight Banners, where taught the Manchu language, riding and shooting, in the meantime, helped to promote translation education, was the trend of the times. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:34, 17 October 2021 (UTC)&lt;br /&gt;
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Key words: the Banner Education; translation education; changing process; translation examination; the translation of History of Han Dynasty.&lt;br /&gt;
1. Introduction. Manchuria, which was founded by minority ethnic groups, ruled the central plains. The rulers had to consider  how to keep the national characteristics and communicate with the Han people to expand the ruling base of the regime. Therefore, the establishment of the the Banner Education which taught the Manchu language, riding and shooting and  helped to promote translation education as well, was the trend of the times. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 03:09, 17 October 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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顺治初年，清廷循汉族国子监之例创设旗学，开清代官学教育制度之先河，专供旗人学习语言、骑射与翻译。顺治朝以后，旗学教育屡经调整与改革，不仅在特定区域设学，而且使旗学教育逐渐平民化、普遍化，既稳定了生源，又规范了教习的拣选和稽核，并适时调整旗学机构的设置、复设或改设，以及教学内容与考核方式，确保了旗人的学习品质。由于办理旗学的主要目的即是为了培养翻译人才，和具备多语种能力的治国之才，故旗学中的教学和学习用书多为汉籍译本，其中多数为满文译本，另有部分为蒙文译本，或者满、汉和满、蒙合璧本。&lt;br /&gt;
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During the early years of Shunzhi Period, the Qing government was the forerunner of the OfficialEducation which was set exclusively for Banner people to learn language, riding, shooting and translation. After the Emperor Shunzhi  Perid,  the Banner Education, which was adjusted and reformed repeatedly, was set in specific areas. It also gradually became popularization and generalization, which stablized source of students, regulated selection and assessment of instructors. It not only adjusted the establishment, reestablishment and the change of establishment of the Banner's schools, but also adjusted the contents of coueses and assessment methods, which ensured the learning quality of Bannermen. Because of the reason that the Banner Education was aimed to cultivate qualified translators and statemenships possessed with multilanguage, textbooks mostly were Chinese works, most of them were translated into Manchu language; part of them were translated into Mogolian; some translated versions were combinated with Manchu language and Chinese, or Manchu language with Mogolian.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 04:48, 17 October 2021 (UTC)&lt;br /&gt;
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During the early years of Shunzhi Period, the Qing government followed the example of the Official Education which set exclusively for Banner people to learn language, riding, shooting and translation, which was considered as the new way for the educational system since Qing dynasty. After the Emperor Shunzhi  Period,  the Banner Education, which was adjusted and reformed repeatedly, was set in specific areas. It was gradually popularizing and generalizing, which possess the stable source of students, the regulated selection and the assessment of instructors. It not only adjusted the establishment, reestablishment and the change of establishment of the Banner's schools, but also adjusted the contents of coueses and assessment methods, which ensured the learning quality of Bannermen. The Banner Education was aimed to cultivate qualified translators and ministerial talent who were multilingual, so textbooks mostly were Chinese works, most of them were translated into Manchu language; part of them were translated into Mogolian; some translated versions were combinated with Manchu language and Chinese, or Manchu language with Mogolian.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:28, 18 October 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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虽然乾隆朝尤其是乾隆中期以后，旗学教育多有弊病，如旗学制度流于形式，章程管理日渐松弛，加上旗人子弟仕宦心态突出，致使学习不勤不精，但在最高统治者的要求与支持，以及内、外因素的交互作用下，仍为国家培养了大批治理之才和翻译专才。2.旗学的翻译使命。满族统治中国以来，为维护满洲的民族特质，以及少数族裔的统治优势，统治者一向提倡旗、民分治，要求旗人保持民族特质，习国语，专骑射，维护国家根本。&lt;br /&gt;
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During the Qianlong period, especially after the middle period, there were many disadvantages that the education of Banner exerted, such as the system of Banner learning becoming a formality, the regulations and management becoming slack, coupled with the prominent attitude of the banner’s student  for promotion in officialdom, so that they were nor diligent nor good at learning. But under the support and the request of the supreme ruler, with the interaction of internal and external factors, the education of Banner still cultivated a large number of governance talents and translation specialists for the country. 2. The translation mission of the Banner’s education. Since Manchu ruled China, in order to maintain the ethnic characteristics of Manchuria and the dominance of ethnic minorities, the ruler has always advocated the separate governance of the flag and the people, requiring the flag people to keep their ethnic characteristics, learn the National language, practice riding and archery in order to stabilize the foundation of the country.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 02:07, 17 October 2021 (UTC)&lt;br /&gt;
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Although in the reign of Qianlong, especially after the middle of the Qianlong period, there were many disadvantages in banner school education, such as the system of banner study becaming a mere formality, the management of the articles of association being increasingly relaxed. Furthermore, the prominent official mentality of the banner people's children led to the lack of diligence and precision in learning, a large number of people who were proficient in governing and translating still cultivated for the country under the requirements and support of the emperor and the interaction of internal and external factors. 2. The translation mission of banner studies. Since the Manchu ruled China, in order to maintain the national characteristics of Manchu and the ruling advantages of ethnic minorities, the rulers have always advocated the separation of the banner and the people, requiring the banner people to maintain their national characteristics, learn the national language, specialize in riding and shooting for maintain the foundation of the country.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:44, 18 October 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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然而，为确保国家治理行之有效，国家长治久安，旗人亦必须兼通满、汉，与汉人沟通交往，以便学习其典章制度与执政经验。顺治朝以后，旗学教育逐渐兴起，其中除国子监八旗官学、顺天和奉天府学外，又有咸安宫和景山官学、宗人府宗学和觉罗学，以及各地八旗官学、义学和清文学等，这些官学成为清代兴贤育才，教养备至的重要场所。对于旗人而言，只有接受旗学教育，熟读经史，掌握翻译，练习骑射，才能符合政府的人才标准和要求，为自身的进身入仕觅得正途。&lt;br /&gt;
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However, for ensuring the effectiveness of national governance and long-term stability of the country, the banner people must be proficient in both Manchu language and Han Language thus communicating with Han people to learn their laws and regulations and ruling experience. After the reign of Shunzhi, the banner education gradually rose. In addition to the eight banner official schools of the Imperial Academy, Shuntian and fengtianfu schools, there were also Xian'an palace and Jingshan official schools, the official school of Imperial Clan Court and Jueluo schools, as well as the eight banner official schools, righteousness schools and Qing literature schools in various places, all of which became an important place to cultivate talents and prepare for education in the Qing Dynasty. As for banner people, only by receiving banner education, reading classical and historical books, mastering translation and practicing riding and shooting can they meet the standards and requirements of the government of choosing people and find a right way for their official career.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 15:12, 16 October 2021 (UTC)&lt;br /&gt;
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However, in order to ensure the effective governance of the country and the long-term stability of the country, the banner people must also communicate with the Manchu and Han people, and communicate with the Han people to learn their rules, regulations and governing experience. After the Shunzhi dynasty, banner education gradually emerged. In addition to the eight banner official school, Shuntian and Fengtian school, Xian’an Palace and Jingshan official school, Zongrenfuzong school and Jueluo school, as well as the eight banner official school, Yi school and Qing Dynasty Literature, etc., these official schools became an important place for educating and cultivating talents in the Qing Dynasty. For banner people, only by receiving banner education, learning by heart in classics and history, mastering translation, and practicing riding and shooting, can they meet the government's talent standards and requirements and find a right path for their own career.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:31, 16 October 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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而统治者之所以重视满、汉语学习，以及翻译能力的培养，乃是国家行政和治理的需要所致。众所周知，国初之际，官员的日常行政广泛使用满文，政务的推动离不开翻译。《钦定大清会典则例（乾隆朝）》中说，清初以来，皇帝颁发满、汉文谕旨时，往往先由内阁进行翻译，或将清字译汉，或将汉文翻清，如此才能上传下达，确保政令畅通。&lt;br /&gt;
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The reason why the rulers attach importance to the study of Manchu and Chinese language and the cultivation of translation ability is due to the needs of national administration and governance. As we all know, in the early days of the country, officials widely used Manchu language in their daily administration, and the promotion of government affairs was inseparable from translation. According to the Rules and Regulations of the King's Chamber of the Qing Dynasty (Qianlong Dynasty), since the beginning of the Qing Dynasty, when the emperor issued a decree in Manchu and Chinese, the cabinet often translated it first, or translated the Qing characters into Chinese, or translated the Chinese into Manchu language, to deliver the message and ensure the smooth flow of government orders.&lt;br /&gt;
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The reason why the rulers attach importance to the study of Manchu and Chinese language and the cultivation of translation ability is due to the needs of national administration and governance. As we all know, in the early days of the country, officials widely used Manchu language in their daily administration, government affairs cannot be handled without translation. According to the Rules and Regulations of the King's Chamber of the Qing Dynasty (Qianlong Dynasty), since the beginning of the Qing Dynasty, when the emperor issued a decree in Manchu and Chinese, the cabinet often translated it first. They translated the Manchu language into Chinese, or translated the Chinese into Manchu language, to deliver the message and ensure the decisions of the government are carried out effectively.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:38, 17 October 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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各部院衙门撰写本章时，虽然兼用清、汉双语，但直省本章中不使用清字者较为常见，这种情况下则往往由通政司将本章咨送内阁，再由后者送交汉本房进行翻译，事毕之后由满本房誊写。（允祹等，1983：4）各省驻防将军、副都统等遇奏事之时，也只使用满语，因而旗籍官员中办理文书业务者，也必须娴熟翻译。（曹振镛，1986：488）至清末之际，虽然旗学中清语荒废的情形日益严重，学生的翻译能力每况愈下，但国家对于翻译人才的需求并没有完全消失。&lt;br /&gt;
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When yamen(government office in feudal China) writes documents, although both uses Manchu and Chinese can be used, but people who do not use Manchu are more common in departmental documents. In this case, the the office of transmission would send the document to the cabinet, which would send it to the Hanbenfang(An organization that translates Manchu into Chinese)for translation, and then the Manbenfang(An organization that translates Chinese into Manchu) would copy it.(Yun Taodeng,  1983:4) Because the generals of garrison and deputy lieutenant-general used only Manchu when handing in documents,among the officials of the Qing Dynasty, those who handle documents must also be skilled in translation.(Cao Zhenpu, 1986:488) In the late Qing Dynasty, although abandonment of Qing language in the Banners study is becoming more and more serious and the translation ability of the students became worse and worse, the country's demand for translation talent did not completely disappeared.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:22, 17 October 2021 (UTC)&lt;br /&gt;
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    When yamen(government office in feudal China) writes documents, although both Manchu and Chinese can be used,people who do not use Manchu are common in departmental documents. In this case, the office of transmission would send the document to the cabinet, which would send it to the Hanbenfang(An organization that translates Manchu into Chinese)for translation, and then the Manbenfang(An organization that translates Chinese into Manchu) would transcribe it.(Yun Taodeng, 1983:4) Because the generals of garrison and deputy lieutenant-general used only Manchu when handing in documents, so among the officials of the Qing Dynasty, those who handle documents must also be skilled in translation.(Cao Zhenpu, 1986:488) At the end of Qing Dynasty, although abandonment of Qing language in the Manchu study was becoming more and more serious and the translation ability of the students became worse and worse, the country's demand for translation talent did not completely disappeared.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:22, 17 October 2021 (UTC)&lt;br /&gt;
--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:58, 19 October 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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然而，有清一代，旗学教育到底兴于何时，旗学中培养的翻译人才究竟几何，等等问题仍存争议。即以宗学的设置时间为例，不同文献的记载便不相同。如《八旗通志·初集》和《钦定八旗通志》中，都载有顺、康年间宗学变化之事，但《（雍正）大清会典》中，却未见有此段史实，反而将宗学之设归于雍正二年。（鄂尔泰等，1986：945-946；铁保等，1983：1-2；允禄等，1995：26）&lt;br /&gt;
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    However, in the Qing Dynasty, there were still disputes about when the Manchu education was prosperous and how many translation talents were trained and so on. That is to say, taking the setting time of zongxue as an example, the records of different documents were different. For example, the first collection of Pa Ch'i T'ung Chih and Tongshu of Manchukuo Family in Eight Banner of Qinding contained the changes of zongxue during the years of Shun and Kang. However, this historical fact was not found in the (Emperor Yongzheng) Great Qing conference, but the establishment of zongxue was attributed to the second year of Emperor Yongzheng. (Ertai etc 1986:945-946; Tiebao etc 1983:1-2; Yunlu etc 1995:26)&lt;br /&gt;
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  annotation:&lt;br /&gt;
1. zongxue: educational institutions for royal clan &lt;br /&gt;
2. Pa Ch'i T'ung Chih: a book recording of Eight Banners system in detail;general annals of the Eight Banners&lt;br /&gt;
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However, in the Qing Dynasty, there were still disputes about when the flag school education was prosperous and how many translation talents were trained in the flag school. That is, taking the setting time of zongxue as an example, the records of different documents are different. For example, the first collection of Tongzhi of the eight banners and the Tongzhi of the imperial eight banners contain the changes of zongxue during the years of Shun and Kang. However, this historical fact is not found in the (Yongzheng) Great Qing conference, but the establishment of zongxue is attributed to the second year of Yongzheng.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:22, 20 October 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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虽然如此，有两点却可肯定：其一，不论雍正二年办理的宗室之学是“复开”，还是“创设”，其中原因确与康熙朝晚期的皇子夺嫡事件有关。《清世宗实录》中对此已有说法：朕惟睦族敦宗，务先教化。尝见宗室中，习气未善，各怀私心，互相倾轧，並无扶持爱护之意，惟知宠厚妻党姻娅，其于本支骨肉，视若仇敌，殊为悖谬。&lt;br /&gt;
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Nevertheless, two points can be confirmed: first, whether the imperial clan school handled by Yongzheng in the second year of Yongzheng was &amp;quot;reopened&amp;quot; or &amp;quot;created&amp;quot;, the reason is indeed related to the emperor's son's seizing the throne in the late Kangxi Dynasty. It has been said in the《true records of emperor Shizong of the Qing Dynasty》 that In order to make the family harmonious,relatives and friends sincere, we must educate them first. I often see some people in the imperial clan who are not kind-hearted, have selfish intentions, frame each other, and do not love each other. It's absurd to spoil your wife and treat other concubines as enemies.&lt;br /&gt;
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Nevertheless, there are two points to be sure. For one thing, no matter whether the school for the imperial family in the second year of Yongzheng(1724) were reopened or created, the reason was indeed related to the prince’s replacement in the late Kangxi Period(1675-1722). In True Records of Emperor Shizong of the Qing Dynasty, it mentioned that: “In order to make the family harmonious, and relatives and friends sincere, they need to be educated first. I often see some people in the imperial clan who are not kind-hearted, have selfish intentions, frame each other, and do not love each other. It's absurd to spoil your wife and treat other concubines as enemies.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 09:05, 20 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
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		<title>20211013 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211013_homework&amp;diff=135074"/>
		<updated>2021-12-31T07:06:30Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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康、雍、乾三朝时期的汉书翻译及其文化统制意涵*&lt;br /&gt;
摘要：清代的汉书翻译是统治者了解、学习和接纳汉文化的重要途径。与清初文化政策的其它单元一样，如官修史书、国语骑射、思想控制等，汉书的翻译、刊刻与颁行也是清代中、前期诸帝治术的独特构成。&lt;br /&gt;
On the Translation of ''the Book of Han'' and its Connotation of Cultural Controlling During the Kang-Yong-Qian Period of the Qing Dynasty(683——1796)&lt;br /&gt;
Abstract: The translation of ''the Book of Han'' is the important approach for the governor to understand, study and accept the Culture of Han. Like other units of cultural policy in the early Qing Dynasty(Official History Books Policy, Manchu National Language and Ride Policy, Thought Control Policy, etc.), the translation, publication, and promulgation of ''the Book of Han'' were also unique components of the emperors' tactics in the middle and early Qing dynasties. --[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:51, 12 October 2021 (UTC)&lt;br /&gt;
The translation of Han books in the Kang Xi,Yong Zheng and Qian Long dynasties and its implication of cultural control * Abstract: The translation of Han books in the Qing Dynasty is an important way for rulers to understand, learn and accept Han culture. Like other units of cultural policy in the early Qing Dynasty, such as official history books, national language,riding and shooting, ideological control, etc.the translation, publication and promulgation of Han books are also the unique composition of the governance of emperors in the middle and early Qing Dynasty.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:23, 13 October 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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康、乾、雍三朝期间，汉书翻译规模不断扩大，主题日益丰富，目的更加明确，为满洲统治者走出“我族”意识，实现满、汉之间的文化接轨与观念沟通，建构并巩固满洲政权的治统与道统等，做出了重要贡献。汉书翻译的开展与推进源于特定的历史语境，与三朝统治者长期以来耽于汉籍，力主道德教化关系甚巨。自起始之日起，汉书翻译便被赋予德治与教化功能，其目的不是为了“以夷变夏”，或者“以夏变夷”，而是为了在满、汉之间进行交流、沟通与互鉴，政治意义与文化意涵并存。&lt;br /&gt;
During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of &amp;quot;my family&amp;quot;, achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Taoism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been big on Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to &amp;quot;change Foreign into  Xia &amp;quot; or &amp;quot;change Xia into Foreign &amp;quot;, but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 05:17, 12 October 2021 (UTC)&lt;br /&gt;
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During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of &amp;quot;Isolated national consciousness&amp;quot;, achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Confucianism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been indulge in Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to influence the Chinese nation by other nationalities, or assimilate other nationalities by the Chinese nation which based on the theory of “guarding against the barbarians or the foreigners”,but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:26, 13 October 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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关键词：汉书翻译； 文化沟通； 治术； 治统； 道统&lt;br /&gt;
导论：清初翻译汉书，实有不得已的情由。满洲以少数族群统摄中原，虽然历代君主强调“敬天”、“法祖”，遵循历史经验，然而满洲文化除了“国语骑射”之外，整体简陋贫乏，因此欲从自身民族历史、文化中寻求借镜，必会遭遇不敷应用的困境。&lt;br /&gt;
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KEY WORDS：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism&lt;br /&gt;
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Introduction: In the early period of Qing Dynasty, Han Classic’s translation is actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s Successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, but, in addition to the &amp;quot;Manchu language, horse-riding and archery&amp;quot;, Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:07, 13 October 2021 (UTC)&lt;br /&gt;
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Key Word：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism&lt;br /&gt;
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Introduction: In the early period of Qing Dynasty, Han Classic’s translation was actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, however. in addition to the &amp;quot;Manchu language, horse-riding and archery&amp;quot;, Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 10:35, 20 October 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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为了在征服和统治过程中有效运用历史经验，并将其正当化与合法化，汉文化的撷取成为不二选择，而汉籍的翻译便是实现这一目的的重要手段。例如建元初年，太祖努尔哈赤称汗之后，即命大臣翻译汉籍，进讲汉文经史，以便了解汉族历史。继位的太宗皇帝更是性嗜典籍，披览弗倦，有着丰富的汉族历史知识，不仅深明《金史》与《三国志传（通俗演义）》等，认为二者使其耳目明快，而且接纳汉官建议，效法太祖命人翻译汉籍，并通过翻译吸收历史知识，将其运用至现实政治实践中，巩固并扩展政权的统治基础。&lt;br /&gt;
In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, the offspring of Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. Emperor Taizong who succeeded to the throne was even more addicted to classics. He had a wealth of historical knowledge of the Han nationality. He not only had a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., but also he believed that they both made his ears and eyes bright and clear so that he can accept the suggestions of Han officials, follow the example of Taizu's orders to translate Chinese Classics, absorb historical knowledge through translation, and apply it to practical political practice to consolidate and expand the ruling foundation of the regime.&lt;br /&gt;
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In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, Emporer Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. His son Emperor Taizong who succeeded to the throne was even more addicted to classics. He not only had a wealth of historical knowledge of the Han nationality and a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc.,  in believing that they both made his ears and eyes bright and clear,but also he accepted the suggestions of Han officials to follow the example of Taizu's orders to translate Chinese Classics. And through absorbing historical knowledge,he applied it to practical political practice to consolidate and expand the ruling foundation of the regime.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:29, 12 October 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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太宗对于汉书的翻译屡有训示，要求“读史致用”，翻译的书籍要么属于“勤于求治而国祚昌隆”者，要么则属于“所行悖道而统绪废坠”者，总之必须关乎朝政之要务。[1]9 ([1](清)鄂尔泰等.清实录·太宗文皇帝实录[Z].北京：中华书局，1985.）太宗之后，冲幼即位的顺治帝同样“嗜观史书”，并采纳大学士希福建议，效仿太宗“鉴古之心”，颁赐《辽》、《金》、《元》三史译本，以明政治之得失，民生之休戚，国家之治乱。[2]15-16&lt;br /&gt;
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The Taizong Emporer had his requirement to the translation of Han books that only books written by Emporer of keen intelligence and excellent judgment, or by Emporer who lost his country because of disobedience. All of them need to be related to affairs of state.[1]9 ([1](Qing)Eertai.Records of Qing Dynasty·Records of the Emperor Taizong[Z].Beijing：Zhonghua Publishing House，1985.）After Taizong，Shunzhi Emporer, who was given the position when was a child, intended to read history books and accepted grand secretary Xifu's advice to follow the example of Taizong Emporer . He recommended the translations of ''Liao'', ''Jin'', ''Yuan'', for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion.&lt;br /&gt;
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Emperor Taizong of Qing Dynasty had his requirements to the translation of Han books. He required “reading history for use”. The books to be translated either belonged to those who were “diligent in seeking governance and then resulted in the fortune of a nation” or those who were “contrary to the way they put into practice and then governance fallen into depression ”. But in any case, they had to be related to affairs of state.[1]9 ([1] (Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985.）After Chongde Emperor, Shunzhi Emporer, who inherited the throne when he was a child, intended to read history books as well, and accepted grand secretary Xifu's advice to follow the example of Chongde Emperor’s heart of appreciation of the past. He recommended the translations of Liao, Jin, Yuan, for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion. [2]15-16--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:36, 13 October 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）尤其是《资治通鉴》一书，顺治帝对其更是情有独钟，认为它有“考百代之是非”的成效。[2]1清初三帝之后，满汉交流日渐频繁，民族融合逐步加强，满洲文化长足发展，嗣后诸帝的汉文化态度随之变化。&lt;br /&gt;
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds generations. &lt;br /&gt;
[2]1 After the three emperors of the early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed rapidly. Henceforth the attitude of emperors changed accordingly. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 08:49, 12 October 2021 (UTC)&lt;br /&gt;
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds dynasties. [2]1 After three emperors of the Early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed by leaps and bounds. Henceforth the attitude of emperors changed accordingly.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:47, 13 October 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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但无论是何种变化，汉书翻译的事业却从未间断，通过翻译汉籍求明道致用的功心也从未革损。如康熙帝“性眈问学”，于听政之暇常取《六经》和《资治通鉴》等书译本，发而读之，以探求圣人之心、治道之切。雍正帝也通过阅读汉籍，论及传统正统论，尤其是其中的“承统之正”与“得国之正”的观点，以此为满洲政权建构统治的理论基础。乾隆帝即位之后，凭借其对于汉籍的熟读与精研，继续推行尊孔崇儒的政策，宣传汉族文化，通过道德学术实现传国久远的理想抱负。&lt;br /&gt;
However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The merit of “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Such as Kangxi’s (emperor of Qing Dynasty) &amp;quot;concerns of study&amp;quot;. In his leisure time after handling issues of politics, he often takes the &amp;quot;Six Classics&amp;quot; and &amp;quot;Comprehensive Mirror for Aid in Government&amp;quot; and other translations, opens and then reads them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy, especially the view of &amp;quot;the rightness of the succession&amp;quot; and &amp;quot;the rightness of the country&amp;quot;, which is regarded as the theoretical basis for the construction and rule of the Manchuria regime. After Emperor Qianlong inherited the throne, he continued to carry out the policy of respecting the Confucianism, publicize the Han culture, and realize the long-standing ideal ambition of the country through moral scholarship.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 01:50, 13 October 2021 (UTC)&lt;br /&gt;
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However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The utilitarian pursuing for “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Taking Kangxi’s (the forth emperor of Qing Dynasty) &amp;quot;concerns of study&amp;quot; for example, in his leisure time after handling issues of politics, he often took the &amp;quot;Six Classics&amp;quot; and &amp;quot;Comprehensive Mirror for Aid in Government&amp;quot; and other translations, opened and then read them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy theory, especially the view of &amp;quot;the rightness of the succession&amp;quot; and &amp;quot;the rightness of the country&amp;quot;, which is regarded as the theoretical basis for constructing the  rule of Manchuria regime. After Emperor Qianlong inherited the throne, by virtue of his delicate reading and deep research in Han Books, he continued to carry out the policy of respecting the Confucianism, publicized the Han culture, and realized the long-standing ambition since the first emperor of Qing dynasty through moral scholarship.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:41, 13 October 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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可以认为，清代的汉书翻译既是一种笼络的手段，也是一种治术的形式，其根本目的乃是建构、巩固并维护满洲政权的正当性。一、清初汉书翻译述要 鉴于文献所限，清初翻译汉书的准确数字，难以查考。特别是太祖、太宗两朝时期，汉书翻译的具体情况尤难统计。&lt;br /&gt;
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It can be considered that the translation of Han books is one means of unifying as well as the form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. 一. Han books translation in the early Qing dynasty was confined to the literature and it is hard to examine the accurate figures of it. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of Han books translation is critically difficult to reckon.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:34, 12 October 2021 (UTC)&lt;br /&gt;
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It can be considered that the translation of Chinese books is a means of unifying as well as a form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. Firstly, The Overview of Translation of Chinese Books in the Early Qing Dynasty.  In the limit of literature, it is hard to examine the accurate figure. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of  the translation are critically difficult to reckon.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:11, 13 October 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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但从《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》和《清代内府刻书目录解题》等文献记载情况看，顺、康、雍、乾四朝官方刊刻的汉书满文译本共计五十三种。其中，除去既有满文本，又有满汉合璧本的《三国志（通俗演义）》和《大学衍义》，以及刊刻次数在两次及以上的满文本《诗经》、满汉合璧本《孝经（御制翻译孝经）》，以及满汉合璧本《潘氏（通鉴）总论》等，汉籍满文译书实为四十七种。以朝代统计，则分别是： 顺治朝九种：《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》；&lt;br /&gt;
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However, from the record of literature such as ''The General Catalogue of Rare and Ancient Books in The National Palace Museum'', ''The World Bibliography of Manchu Literature'', ''The National Union Catalogue of Books and Reference Materials of  Manchu'' and ''The Bibliography for the Interpretation of Titles of the Engraving Books of the Imperial Storehouse in Qing Dynasty'', translation of Chinese books by Manchu that officially engraved by the four dynasties of Emperor Shunzhi, Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong add up to fifty-three. Among these books, besides Manchu or the Chinese-Manchu bilingual ''The Romance of the Three Kingdoms'' and  ''Interpretation of The Great Learning'', the Manchu script ''The Book of Songs'' that was printed more than twice, the  bilingual ''The Book of Filial Piety''(made by the emperor order) , the bilingual ''The General Instruction From Pan Rong'' and so on, translation of Chinese books by Manchu actually add up to forty-seven.According to statistics of dynasties, they include nine books in the reign of Shunzhi: ''History of the Liao Dynasty'', ''History of the Jin Dynasty'' , ''History of the Yuan Dynasty'', ''The Sermon of the Hongwu Period'', ''The Romance of the Three Kingdoms'', ''The Book of Songs'',''Book for Loyalty'', ''The Book of Filial Piety''(translated by Asitan) and ''Books on the Art of War''.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 19:23, 12 October 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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康熙朝十二种：《纲鉴汇纂》、《大学衍义》、《日讲四书解义》、《日讲书经解义》、《日讲易经解义》、《御选古文渊鉴》、《资治通鉴纲目》、《黄石公素书》、《醒世要言》、《潘氏（通鉴）总论》、《菜根谭》和《薛文清先生要语》； 雍正朝五种：《孝经集注》、《小学合解》、《小学》及《四体翻译心经》；④ 乾隆朝二十二种：《日讲春秋解义》、《御制翻译四书》（鄂尔泰等奉敕译，满文本，乾隆六年）、《御制翻译四书》（乾隆皇帝敕译，满汉合璧本，乾隆二十年）、《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译名义集》、《御制大悲心忏法仪轨经》、《大藏经全咒》、《御制楞严经》、《御制翻译礼记》、《御制翻译春秋》、《心经》、《大藏经》、《御制翻译孝经》、《翻译潘氏（通鉴）总论》、《般若波罗蜜多心经》、《御译大云轮请雨经》、《吉祥偈》、《佛说四十二章经》、《金刚般若波罗密多经》及《沐浴经》。&lt;br /&gt;
There are 12 Manchu versions of the Chinese classics during the Emperor Kangxi in Qing Dynasty. They are Gangjian Compilation, a historical book of general history; Ta-hsueh yen-I, Interpretation of Four Books of the Day, Interpretation of Books of History, Interpretation of the Books of Changes, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing. There are five versions during the Emperor Yongzheng. They are The Book of Filial piety, Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation. There are 22 versions during the Emperor Qianlong, including A teaching record of Chunqiu (a confucian classics), Authorized Translations of Sishu(Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of Sishu(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of Shujing, Authorized Translation of Zhouyi, Authorized Translatio of Book of Songs, Authorized Translation of Mingyiji, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of Chunqiu, Heart Sutra, Tripitake, Authorized Translation of the book of Filial Piety, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian&lt;br /&gt;
There are 12 Manchu versions of the Chinese classics during the period of Emperor Kangxi in Qing Dynasty. They are ''Gangjian Compilation, a historical book of general history; Ta-hsüeh yen-I, Interpretation of ‘the Four Books’,  Interpretation of ‘the Book of History’, Interpretation of ‘Book of Changes’, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing''. There are five versions during the period of Emperor Yongzheng. They are ''The Book of ‘The Classic of Filial Piety’ variorum , Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation.'' ④There are 22 versions during the period of Emperor Qianlong, including ''Interpretation of ‘The Spring and Autumn Annals’ (a confucian classics), Authorized Translations of ‘the Four Books’ (Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of ‘the Four Books’(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of ‘the Book of History’, Authorized Translation of ‘the Book of Changes’, Authorized Translation of ‘Book of Songs’, Authorized Translation of formula names, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of ‘The Spring and Autumn Annals’, Heart Sutra, Tripitake, Authorized Translation of ‘the Classic of Filial Piety’, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian.''--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 23:17, 15 October 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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上述译本中，虽然《三国志（通俗演义）》和《大学衍义》分别于顺治七年、康熙十一年刊印两次，但各自的底本相同，区别只在于一次为满文本，另一次则为满汉合璧本。此外，《孝经》曾于顺治、康熙、雍正朝各刊刻一次，但底本各不相同，其中顺治年间的刊行本为阿什坦译本、康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，只是注明“雍正皇帝敕译”。值得注意的是，虽然世祖顺治帝笃信佛教，论佛谈法，但从现有文献看，未见有顺治朝翻译的汉文经书，反倒是禁教严厉的高宗时期，翻译汉文经书多达九部，其中缘由，值得深思。&lt;br /&gt;
In above-mentioned translations, although ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'' were published twice in the seventh year of Shunzhi and the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were  varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth nothing that although the emperor Shunzhi believed in and advocated Buddhism ,there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when religions were strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons of this are worth considering. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:25, 11 October 2021 (UTC)&lt;br /&gt;
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In the above-mentioned translations, although ''Records of the Three Kingdoms'' and ''Daxue yanyi'' were published twice in the seventh year of Shunzhi and in the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial Piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth noting that although the emperor Shunzhi believed in and advocated Buddhism, there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when Buddhism was strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons for this are worth pondering.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:07, 12 October 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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尤其值得关注的是《诗经》与《孝经》的满文译本。以《诗经》为例，该书翻译成书后，顺治帝曾为其亲制序文，赞誉该部作品意旨深厚，能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。更可以敦厚人伦，端正教化。”[3]72-73（[3]叶高树.清朝前期的文化政策[M].台北：稻乡出版社，2002.）&lt;br /&gt;
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The Chinese-Manchu translations of ''The Book of Songs'' and T''he Classic of Filial Piety'' call for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve human relations and correct moral cultivation.” [3]72-73（[3]Ye Gaoshu. Cultural policies in early Qing dynasty [M].Taipei：Dao Xiang press，2002.）--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 13:57, 12 October 2021 (UTC)&lt;br /&gt;
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The Chinese-Manchu translation of ''The Book of Songs'' and T''he Classic of Filial Piety'' calls for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve honest and sincere, human relations of people and correct moral cultivation.”--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:35, 13 October 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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从教化的角度思考《诗经》的翻译，既是顺治帝本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种被动调整。正如顺治九年进士、刑科给事中阿什坦担心的那样：学者立志，宜以圣贤为期，读书务以经史为中。&lt;br /&gt;
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Thinking about the translation of The Book of Songs from the perspective of enlightenment is not only Shunzhi Emperor's self-conscious awareness, but also a passive adjustment made by the rulers headed by Shunzhi when they were faced with the popularity of tares officer novels and the manchurian people competing in translation. Just as Ashtan-Jinshi in the Shunzhi period of nine years in the Criminal Section for things was worried: scholars resolve, should take sages as their example of study, and take classics and history as main aspect.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:53, 13 October 2021 (UTC)&lt;br /&gt;
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In terms of educational function of translating ''The Book of Songs'', it is on one hand  Emperor Shunzhi’s spontaneous awareness and on the other a passive adjustment by Shunzhi and his counterparts to the situation where Manchuria translators competed to translate the prevailing novels of unofficial histories. As Ashton, a scholar in the ninth year of Shunzhi’s reign and official in the department of justice, stated that scholars should resolve to make sages as their goal and focus on reading history and classics.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:50, 13 October 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝 。&lt;br /&gt;
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, while the other kinds of books which are of no benefit should be discarded. In this way, scholars might achieve positive results in academy and get rid of evil thoughts. I have noticed much falsifying and obscenity among the books translated into Manchu language. I am afraid that those books of no good can be prevailing and contagious, eroding people’s thinking.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:12, 12 October 2021 (UTC)&lt;br /&gt;
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Besides, other kinds of books with profitless words all should be discarded. Hence scholars can almost do increasingly better in their scholastic attainment, and evil thoughts disappear. Recently, I have noticed that among translated books in Manchu, there are many novels with bestial words, not only useless, but also easily imputing negative thoughts if they prevail.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 00:44, 13 October 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）阿什坦认为，读书必以经史为要，摒弃杂书，尤其是污言秽语之书。&lt;br /&gt;
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Moreover, the old maxims of sages are studied in detail everyday, but people still fear that they can’t approach that height. Why should we employ our time in useless places? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thinks we should choose classics and history to read rather other books, especially those with bestial words.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:09, 12 October 2021 (UTC)&lt;br /&gt;
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As for the maxims from ancient sages, people studied them everyday in detail  but still worried they couldn’t comprehend, so why should they do worthless work? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Ashitan thought people would read classical books and get rid of informal books especially those with bestial words.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:17, 12 October 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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因此，他奏请皇上对旗人读书严加限制，要求嗣后翻译书籍只应针对“关圣贤义理，古今治乱之书”，对于“此外杂书秽言”，则“概为禁饬，不许翻译”。[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）正是缘于这样的认识，《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》和《太公家教》等被陆续译成。&lt;br /&gt;
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Therefore, he presented a proposal to the dominator that a restriction on Qi people’s education should be made. He also claimed that people could only translate those books about men’s virtue and dominator’s pacification, while those informal books with bestial words should be banned. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Due to that kind of comprehension, the Great Learning, the Middle Way, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:00, 12 October 2021 (UTC)&lt;br /&gt;
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Therefore, he presented a proposal to the emperor that a strict restriction on Qi people’s education should be made which allowed people to translate books about men’s virtue and dominator’s pacification and prohibited translations of informal books with foul language. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Due to that kind of awareness, the Great Learning, the Doctrine of the Mean, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 12 October 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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顺治帝对于《孝经》的翻译亦甚重视，曾亲自撰写《御注孝经》，令儒臣博采群书，加以论断，编纂《孝经衍义》。顺治帝指出，自古治平天下，莫大于孝，而《孝经》立意正大，“孝”更是“五常百行之原”，如不能取古人言行，将其推广，则不足以彰显其义，同时也与其本人“以孝治天下”的愿景相悖。[2]1-2;[5]140-141（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）&lt;br /&gt;
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Emperor Shunzhi also attached great importance to the translation of The Classic of Filial Piety for which he once wrote the notes himself. Moreover, he ordered the Confucian officials to evaluated this book and compiled The Extended Explanation of The Classic of Filial Piety according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that The Classic of Filial Piety embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.Records of Qing Dynasty •Records of the Emperor Shizhi[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:06, 11 October 2021 (UTC)&lt;br /&gt;
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Emperor Shunzhi also attached great importance to the translation of ''The Classic of Filial Piety'' for which he once wrote the notes himself. Moreover, he ordered the  officials who are faithfully converted to Confucianism to evaluated this book and compiled ''The Extended Explanation'' of ''The Classic of Filial Piety'' according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that ''The Classic of Filial Piety'' embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.''Records of Qing Dynasty •Records of the Emperor Shizhi''[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:26, 20 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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（[5]宋德宣.满族哲学思想研究[M].沈阳：辽宁大学出版社，1994.）顺治年间翻译的其它汉文典籍，如《洪武宝训》、《表忠录》、《诗经》与《孝经》等，也各具代表性。以《洪武宝训》为例，该书系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针。顺治三年三月，《洪武宝训》完成满文翻译，成为清朝入关后的首部汉籍译作，顺治帝对此极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王钦命汉官代笔，以世祖名义制作序文，颁行全国。&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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世祖认为，历代贤君莫如洪武，希望通过翻译此书，学习中原汉族王朝正统，巩固满清统治，所谓“彝宪格言，深裨治理”，即是此书翻译目的之体现。[2]1（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）二、康熙朝的汉书翻译。康熙朝的汉籍翻译可分为两部分：一部分为整理、刊行前朝译本；另一部分则着手翻译其它各类汉文书籍As far as Emperor Shitzu of Qing Dynasty concerned, Each emperor in Chinese history is not so sagacious as Taitzu(Emperor ''Hongwu'') of Great Ming Empire, so, he hopes that by translating ''Hongwu Baojian'', the orthodox tradition and customs of all dynasties created by the Han ethnic groups in the Middle part of China can be studied and acquired, the goal, which is to consolidate of the newly born dynasty, can be achieved. The purpose of translating ''Hongwu Baojian'' is that Emperor Shunzhi thinks that it can &amp;quot;refresh the country and make great contributions to his ruling.&amp;quot;&lt;br /&gt;
[2]1([2](Qing) E Ertai et al., ''the Imperial Archives of Emperor Shitzu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985.)&lt;br /&gt;
II. The Translation of Books  Created by Han Ethnic Group in the Period of Kangxi(1661-1722) The translation of Books  created by Han ethnic group in the Period of Kangxi(1661-1722) can be divided into two parts: the first is neaten, print and publish the former translated version; the second is setting about translating other books written by Han Character.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:14, 13 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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As far as Emperor Shizu of Qing Dynasty concerned, there is no sagacious emperor in Chinese history than Taitzu(Emperor Hongwu) of Great Ming Dynasty, so he hopes that by translating Hongwu Baojian, the orthodox tradition and customs of all dynasties created by the Han ethnic in the Central Plains of China can be studied and acquired, the goal, which is to consolidate the newly born dynasty, can be achieved. The purpose of translating Hongwu Baojian is that Emperor Shizu thinks that it can &amp;quot;refresh the country and make great contributions to his ruling.&amp;quot; [2]1([2](Qing) E Ertai et al., the Imperial Archives of Emperor Shizu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty, Peking, Zhonghua Book Company, 1985.)&lt;br /&gt;
II. The Translation of Books Created in Kangxi Dynasty.(1661-1722) The translation of Books created in Kangxi Dynasty(1661-1722) can be divided into two parts: the first is to neaten, print and publish the former translated version; the second consist in translating other books written by Han Character. --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:25, 13 October 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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其中，前者如《纲鉴汇纂》（康熙三年）、《黄石公素书》（康熙四十三年）和《潘氏（通鉴）总论》（康熙四十六年）等，后者则如《大学衍义》等，数目更多。康熙十一年，翰林院掌院学士兼礼部侍郎傅达礼翻译《大学衍义》成书，次年进呈皇帝，获太皇太后和圣祖嘉奖。孝庄太皇太后在亲览傅礼达《大学衍义》译本后，大赞此书“法戒毕陈，诚为且要”，并对康熙帝钦命儒臣翻译、刊刻、颁赐此书给诸臣，予以充分肯定。[6]82&lt;br /&gt;
Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoisme in the 43th year of emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:24, 12 October 2021 (UTC)&lt;br /&gt;
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Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of the Emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoism in the 43th year of the Emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of the Emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of the Emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:09, 13 October 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）《大学衍义》译毕后，康熙帝又在康熙十六年、十九年、二十二年，分别命人将《四书》、《五经》等的经筵讲义加以刊印，先后集成《日讲四书解义》、《日讲书经讲义》和《日讲易经讲义》。这些讲义虽不是直接译自清代以前的汉文典籍，然而作为阐释经典的作品，也经历了由汉文翻译成满文的过程，且书中又将原典逐字逐句译出，故仍然属于汉籍翻译的范畴，对高宗年间的儒家经典重译也产生了重要、深刻的影响。&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.)After the translation of ''Spreading Meaning of The Great Learning'' was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year of Kanxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''.These doctrines are not directly transalted from those Chinese classics since the dynasty of Qing, however as the works of interpreting classics, also going through the process of the translating from Chinese to Manchu language.Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 02:53, 13 October 2021 (UTC)&lt;br /&gt;
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([6] The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.) After the translation of Spreading Meaning of The Great Learning was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year in the period of Emperor Kangxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''. Although, these doctrines are not directly translated from those Chinese classics since the dynasty of Qing, as the works of interpreting classics, it also went through the process of the translating from Chinese to Manchu language. Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:41, 13 October 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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与此同时，康熙帝即位后，也缵述世祖遗绪，命儒臣编纂《孝经衍义》，只是由于该书达一百卷之多，篇帙繁复，读者未必领会周全，因而康熙帝钦命专译其经文，以利读者习诵。康熙帝对汉书翻译的重视也体现在《通鉴纲目》的翻译上。据《康熙起居注》中载，康熙帝耽于《资治通鉴》，自二十四年起便对《资治通鉴》、《资治通鉴纲目》（又名《通鉴纲目》）、《纲目大全》三书“以硃笔亲加点定”，不但将书中错误悉数改正，而且对缺失者也加以增补。[6]1339-1340&lt;br /&gt;
At the same time, after Emperor Kangxi ascended the throne, he also inherited and reported the meritorious deeds of Emperor Qing Shi Zu and ordered Scholar-Officials to compile the ''Classic of Filial Piety''. However, the readers may not understand it well because there are as many as 100 heavy and complicated volumes. Therefore, Emperor Kangxi ordered experts to translate the scriptures for the benefit of the readers. Emperor Kangxi's attention to the translation of Chinese books is also reflected in the translation of the ''Compendium of History as a Mirror''. According to the ''Records of Emperor Kangxi’s Daily Activities'', Emperor Kangxi devoted himself to ''History as a Mirror''. Since the 24th year in the period of Emperor Kangxi, Emperor Kangxi “had used the Chinese brush with cinnabar ink to revise” the three books, the ''History as a Mirror'', the ''Compendium of History as a Mirror'', and the ''Compendium'', not only corrected all the errors in the book, but also supplemented the missing ones. [6]1339-1340--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:06, 12 October 2021 (UTC)&lt;br /&gt;
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At the same time, after Emperor Kangxi accepted the imperial succession, he also inherited and edited the meritorious works of Shizu, Qing Emperor and commanded the Scholar-Officials to compile ''The Meaning Supplement of Filial Piety''. However, the readers may not understand it so well because this book consisted of more than 100 volumes, with complicated sections and chapters. Therefore, Emperor Kangxi ordered experts to translate the classical works for the benefit of the readers. Emperor Kangxi attached importance of Han classics to the translation of ''Compendium of History as a Mirror''. According to ''Record on Emperor Kangxi's Daily Life'', he was so fond of ''History as a Mirror''. Since the 24th year after reign, Emperor Kangxi has used the Chinese brush with cinnabar ink to revise ''History as a Mirror'', ''Compendium of History as a Mirror'', and ''Compendium'', not only correct all the mistakes in the book, but also supplement the missing ones. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:03, 13 October 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）而康熙帝对于《通鉴纲目》的关注尤甚，达到了“循环披览，手未释卷”的程度。[7]2-3（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so concerned about ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:22, 12 October 2021 (UTC)&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so fond of ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:22, 13 October 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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故此，康熙三十年，圣祖命阿什坦之子，翻书房总裁和素将《通鉴纲目》译文满文，由武英殿内府刊刻，该译本现存于中国民族图书馆，共三十册（三函），虽然内容上并不完整，但仍然包含了《资治通鉴纲目》（朱熹）、《订正通鉴纲目前编》（南轩），以及《续资治通鉴》（商辂）等三部作品的基本内容。难得的是，该部汉籍的满文译本曾入选第四批《国家古籍珍贵名录》（编号：11326），可见其在翻译史、满语史乃至中国史上的重要地位。康熙年间，除翻译汉文经、史外，也编译汉书，如《御选古文渊鉴》的编译等，即属此类。&lt;br /&gt;
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Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''TongJian of Materia Medica'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 vomumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''History as a Mirror''(by Zhu Xi), ''Revised Prequel of TongJian of Materia Medica'' (by Nan Xuan) and ''The Sequel of History as a Mirror''(by Shang Lu). What's worth noting is that, this translated script was once selected into the fourth batch of ''National Rare Catalogue of Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the history of Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:16, 13 October 2021 (UTC)&lt;br /&gt;
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Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''General Compendium'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 volumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''Outline of Comprehensive Mirror for Aid in Government''(by Zhu Xi), ''Revised Prequel of Comprehensive Mirror for Aid in Government'' (by Nan Xuan) and ''The Sequel of Comprehensive Mirror for Aid in Government''(by Shang Lu). What's worth is that, this translated script was once selected into the fourth batch of ''List of National Rare Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:50, 13 October 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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《御选古文渊鉴》由康熙九年进士徐乾学编注，全书共六十四卷选文，收录时间自春秋至宋末，偏重于先秦、两汉古文，以及唐宋八大家散文。关于《御选古文渊鉴》的缘起，《康熙帝御制文集》中有详细记载，概言之便是康熙帝常思“文以载道”，认为文章之事源远流长，所谓“今古错综，盛衰或通于千载，损益无关于一朝”，因而命儒臣选辑“辞义精纯，可以鼓吹《六经》者，汇为正集”，“间有瑰丽之篇，……则列之别集”，而“旁采诸子，录其要论，以为外集。”[7]17-18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）&lt;br /&gt;
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''The Appreciation of Ancient Writings Selected by Emperor Kangxi'' was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in Kangxi’s ninth year in the throne. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of eight great prose masters of the Tang and Song. In regard to its origin, it was recorded in detail in ''The Collected Works of Emperor Kangxi''. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi therefore commanded officials to select those with excellent contents and forms which advocate ''Six Classics'' for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, ''The Collected Works of Emperor Kangxi''[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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The Appreciation of Ancient Writings Selected by Emperor Kangxi was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in 1670. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of the eight great prose masters in Tang and Song. In regard to its origin, it was recorded in detail in The Collected Works of Emperor Kangxi. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi, therefore, commanded civil officials to select those with excellent contents and forms which advocate Six Classics for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, The Collected Works of Emperor Kangxi[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:53, 13 October 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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按照康熙帝自己的设想，该书的编纂着眼于“文治”，使帝王之道“大化以成”，而圣贤之业“性功以备”，既强调“质文互用”，又强调“博约并施”。[7]18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）康熙二十四年，该书先以汉文刊印，两年后又以满文翻译成书，由内府刊刻。&lt;br /&gt;
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According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus of governing the country through civil affairs. In this way, the whole ability of the emperor can be approved, while saints’ career should both be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.  &lt;br /&gt;
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According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus on governing the country by “civil affairs”. In this way, the comprehensive  ability of the emperor can be improved, while saints’ career should  be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 07:38, 12 --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:42, 12 October 2021 (UTC)October 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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《御选古文渊鉴》的编译对于康熙朝的汉籍翻译影响甚大。以此书为界，康熙朝的汉籍翻译在前后两个阶段中，对于对象的选取有着明显不同的诉求。其中，前一阶段的翻译文本多与《四书》、《五经》及宋代以前的作品有关，仅有《纲鉴汇纂》（达海等译）一部涉及前明，而康熙中、后期之后，由明代儒士作品翻译的情况明显增多，如吕坤的《醒世要言》、洪应明的《菜根谭》，以及薛瑄的《薛文清先生要语》等。&lt;br /&gt;
The compilation of The Selection of Ancient Classics had a great influence on the translation of books in the Kangxi Dynasty. Taking  it as  a boundary, the translation in the Kangxi Dynasty had obviously different demands on the selection of objects in the two stages. For example, the translation before  the compilation  of The Selection of Ancient Classics was related to works before Song Dynasty,like The Four Books and the Five Classics .Only Gang Jian Hui Zuan ( translated by Daihai,etc) talked about the former Ming Dynasty. However, in the middle and late Kangxi Dynasty, works translated by talents of Ming Dynasty increased greatly, such as Xing Shi Yao Yán translated by Lv Kun,Cai Gen Tan translated by Hong Yingming and The Words of Xue Wenqing translated by Xue Xuan.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:38, 12 October 2021 (UTC)&lt;br /&gt;
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The compilation of the &amp;quot;Royal Selection of ancient texts&amp;quot; had a great influence on the Chinese translation of Kangxi Dynasty. With this book as the boundary, Kangxi Dynasty's Chinese translation in the two stages before and after, for the selection of objects have obviously different demands. Among them, the translation text of the previous stage is mostly related to the &amp;quot;Four Books&amp;quot;, &amp;quot;Five Book&amp;quot; and previous works of the Song Dynasty, only &amp;quot;GangQi&amp;quot; (Dahai et al.) a related to the pre-Ming, and Kangxi middle and later, by the Ming Dynasty Confucian works translated by the situation significantly increased, such as Lu Kun's &amp;quot;Wake up the World&amp;quot;, Hong Yingming's &amp;quot;CookIng Tan&amp;quot;, and Xue Wei's &amp;quot;Mr. Xue Wenqing&amp;quot;.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 09:45, 13 October 2021 (UTC)[[File:Example.jpg]]&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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虽然如此，但康熙一朝的翻译目的并无明显改变，仍以劝善除恶、裨益治道者为先。&lt;br /&gt;
三、雍正朝的汉书翻译。雍正年间，汉籍翻译与出版仍在发展，但种类与数量和康熙朝比稍嫌单调、稀少。之所以如此，与雍正年间的政治形势不无关联。雍正二年，朝廷颁布《朋党论》和《雍正上谕》，暴露出统治集团内部的激烈斗争。&lt;br /&gt;
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Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern. Third, the translation of Han books from the Zheng Dynasty. During the Yu Zheng years, Han translation and publishing are still developing, but the type and quantity and Kangxi Dynasty than slightly monotonous, rare. The reason for this is not unrelated to the political situation in the Yu Zheng dynasty. In the second year of Yongzheng, the imperial court issued The Treatise on Cliques and the Encyclical of Yongzheng, which revealed the fierce struggle within the ruling cliques.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 11:00, 12 October 2021 (UTC)&lt;br /&gt;
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Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern.&lt;br /&gt;
Third, the translation of ''Han History'' from the Yongzheng Dynasty. During the Yongzheng years, translation and publication of books in the Han Dynasty are still developing, but compared with Kangxi dynasty, the types and quantity of books in Han Dynasty were monotonous and rare.The reason for this is not unrelated to the political situation in the Yongzheng dynasty. In the second year of Yongzheng, the imperial court issued ''The Treatise on Cliques'' and ''the Encyclical of Yongzheng'', which revealed the fierce struggle within the ruling cliques.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 10:53, 13 October 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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同年，世宗又对圣祖“上谕十六条”进行演绎和注解，并与后者一道合成《圣谕广训》，由武英殿刊刻，颁行天下，以加强伦理道德教育。不久之后，朝廷遵圣谕又相继颁布《上谕八旗》和《上谕旗务议复》，表明雍正帝急欲加强皇权统治，削弱王公旗主权势。正是这样的政治环境，给汉籍的翻译施加了限制。&lt;br /&gt;
In the same year, King Sejong also interpreted and annotated the 16th Encyclical of Sage Patriarch, and together with the latter, compiled the Encyclical Instruction, which was printed in the Hall of Martial Valor and presented to the world to strengthen moral education. Soon after, the imperial court in compliance with the encyclical and issued the ''&amp;quot;Encyclical Eight Banners'' and ''Encyclical Banner Affairs Review'' , indicating that Emperor Yongzheng was anxious to strengthen the imperial rule, weaken the sovereign potential of the royal banner. It is this political environment that imposes restrictions on the translation of Chinese books.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 11:07, 12 October 2021 (UTC)&lt;br /&gt;
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In the same year, Shizong emperor also interpreted and annotated the ''Sixteen Encyclicals'' of  emperor Taizu. Then they compiled the ''Encyclical Instructions'' together, which was printed in the Hall of Wuying and presented to the country to strengthen moral education. Soon after, the imperial court in compliance with the command of emperor issued the ''Encyclical of Eight Banners'' and ''Encyclical Review on Banner Affairs'', indicating Emperor Yongzheng's anxiety to strengthen the imperial rule and weaken the power of the royal banners. It is this political environment that imposes restrictions on the translation of Chinese classics.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:20, 12 October 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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雍正朝汉书翻译的单调与稀少还有另外一个原因，那就是翻译人才的相对紧缺。众所周知，清初之际，政府对于翻译的重视不只是体现在语言学习和公文的处理上，也体现在官修书籍的翻译与编纂上。例如，自雍正五年开始修纂，乾隆三十七年成书的《八旗通志》，作为研究满洲贵族特权和司法特权，以及旗地旗产制度的重要文献，便被翻译成蒙语。&lt;br /&gt;
There was another reason for the monotony and scarcity of translation in Yongzheng dynasty, that is, the relative shortage of translation talents. As we all know, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For example, the ''General Annals of Eight Banners'' compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, was translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges, as well as the system of banner land and banner property.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:59, 12 October 2021 (UTC)&lt;br /&gt;
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During Yongzheng Period, another causation for the monotony and scarcity of translation of Han classics is the relative shortage of translation talents. As is known to all, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For instance, ''The General Annals of Eight Banners'' started to be compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, and it was then translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges as well as the system of banner land and banner property.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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另一部记录蒙古、回部等部落如何归附清朝，并跟随努尔哈赤及其继承者建国立业的《蒙古回部王公表传》，也被译成满文。这些书籍的翻译先由理藩院或内阁实录馆奏呈皇帝，获准后再从理藩院各司中抽调“笔帖式”，或从其它内阁机构中征调翻译人员，按相关规定与程序加以完成。然而，尽管清朝建国以来，朝廷对于翻译人员的数量要求有所增加，但直到顺治和康熙年间，兼通满、蒙两种语言的八旗族人尚能满足朝廷需求，可雍正在位期间，情形随之变化，出现了译员不足的局面。雍正帝曾说：&lt;br /&gt;
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Another book, ''The Biography of Emperor of the Mongolian and Uighur Tribes '', was also translated into the Manchu script. This book recorded how Mongol, Uyghur and other tribes attached to the Qing Dynasty, and followed Nuerhachi as well as his successors to establish a state. The translation of these books was first presented to the emperor by Court of Colonial Affairs or Cabinet Record Hall. After approval, the “bithesi” transferred from each department of the Court of Colonial Affairs, or translators recruited from other cabinet institutions completed them in accordance with relevant regulations and procedures. However, although the imperial court’s demand for the number of translators had increased since the founding of the Qing Dynasty, people among the Eight Banners who had a good command of Manchu and Mongolian couldn’t meet the needs of the court until the Emperor Shunzhi and Emperor Kangxi Period. But, during the reign of Emperor Yongzheng, the situation changed and there was a shortage of translators. Emperor Yongzheng once said:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:06, 13 October 2021 (UTC)&lt;br /&gt;
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An another book,''The Biography of Emperor of the Mongolian and the Hui tribes'', which records how the Mongolian and Hui tribes submitted the Qing dynasty and followed Nurhachi and his successors to establish the state, was also translated into Manchu.The translation of these books was first presented to the emperor by the Court of Colonial Affairs or the Cabinet Record Hall. After approval, the “bithesi”(A name for an official of the Qing Dynasty. It refers to people who were engaged in translating Manchu and Han memorials and characters in the Qing Dynasty) was transferred from each department of the Court of Colonial Affairs, or Recruiting translators from other cabinet agencies to complete them in accordance with relevant regulations and procedures.However, since the founding of the Qing Dynasty, the court's requirements for the number of translators had increased,but the talents of The Eight Banners who are proficient in Manchu and Mongolian could not meet the needs of the imperial court until the reign of the Emperor Shunzhi and Kangxi Period,During the reign of the Emperor Yongzheng Period, the situation changed and there were a shortage of interpreters.the Emperor Yongzheng once said:                        --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:34, 16 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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近见蒙古旗分能蒙古语言翻译者甚少, 沿习日久则蒙古语言文字必渐至废弃。应照考试清文翻译例考试蒙古翻译, 取生员 、举人 、进士以备理藩院之用。 ……如此则蒙古旗分之人益加鼓励勤学, 蒙古语言文字不至废弃, 而理藩院亦收得人之效矣。[8]203&lt;br /&gt;
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Recently, there are few people who can translate Mongolian in Mongolia,Along with it for a long time, the Mongolian will gradually be obsoleted. The Mongolian translation should be tested refering to the Qingwen translation examination,and students(who is studying in Imperial College and other places in the feudal imperial)、Juren(successful candidates in the imperial examinations at the provincial level) and Jinshi(successful candidates in the highest imperial examinations) should be selected to the court of Colonial Affairs. ……In this way, the Mongols will be encouraged to study harder, the Mongolian language and characters will not be abandoned, and the court of Colonial Affairs will also recuit talents.                                         --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:42, 11 October 2021 (UTC)Liu Wei&lt;br /&gt;
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Recently, few Mongols could do Mongolian-Chinese translation, as a result of which the Mongolian would gradually be obsoleted in a time. The Mongolian-Chinese translation should be tested just as the Manchu-Chinese translation to admit xiucai, juren and jinshi, those who have passed the exam at the county, provincial and the highest level respectively,  into the Lifan Court, the highest authority on affairs of national minorities. ……Thus, the Mongols would be encouraged to learn more, the Mongolian not abandoned, and the Lifan Court  recruiting talents. [8]203--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:38, 12 October 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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（[8]中国第一历史档案馆.雍正朝汉文谕旨汇编[Z].桂林：广西师范大学出版社，2008.）为解决此困局，雍正帝即位之初即敕令朝廷各部院衙门分别采取措施，在八旗蒙古人中培养翻译人才。如1723年，即雍正元年，皇帝诏谕八旗蒙古各部建立官学，并命理藩院与吏部考录通晓蒙语者，允许其“考试笔帖式补用”。[9]243&lt;br /&gt;
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([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, the first year under the reign of Yongzheng, the emperor ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 11:12, 20 October 2021 (UTC)&lt;br /&gt;
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([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, Emperor Yongzheng reign, he ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:22, 13 October 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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雍正六年，吏部经过议复，同意了理藩院尚书特古忒的意见，认为今后理藩院中专门负责蒙古事物的官员，必须懂得蒙古文。同时，吏部将会同理藩院，在蒙古各部官学中选拔通晓满、蒙语言的学生和监生，充任翻译工作，“以各部院蒙古笔帖式，换次补用”。[9]290以上诸种虽就蒙古语译员而言，但满、汉之间的翻译亦与此同，由此造成了汉籍满译的相对颓势。&lt;br /&gt;
The 6th year Yongzheng ruling period（1728）,after the discussion， the Ministry of Personnel agreed with the opinion of  Tegute, the minister of court of Colonial Affairs， that the officials in charge of Mongolia affairs in the court of Colonial Affairs must know Mongolian language in the future. At the same time, the Ministry of Personnel will work with the court of Colonial Affairs to select students and supervisors who are familiar with Manchu and Mongolian languages from various Mongolian ministries and schools to serve as translators. [9]290 Although the above types of Mongolian translators are concerned, the translation between Manchu and Chinese is the same, resulting in the relative decline of Chinese manchu translation.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:19, 13 October 2021 (UTC)&lt;br /&gt;
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In the sixth year of Yongzheng Emperor’s reign, the Ministry of Personnel rediscussed and approved the proposal of Tegute, the minister of the Court of Colonial Affairs, that from now on the officials in charge of Mongolia affairs in the Court of Colonial Affairs must know Mongolian. At the same time, the Ministry of Personnel would work with the Court of Colonial Affairs to select students and supervisors who are proficient in Manchu language and Mongolian from various Mongolian ministries and schools to serve as translators. “Admitting the waitlisted Mongolian bithesi to replace the incompetent.” [9]290 Although the measures mentioned above are concerned with Mongolian translator, the translation between Manchu language and Han is the same, resulting in the relative decline of Han-Manchu language translation.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 03:54, 13 October 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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四、乾隆朝的汉书翻译。乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。&lt;br /&gt;
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Fourth, the translation of Han books during the reign of Qianlong Emperor. During his administration, the translations of Han books share great similarities with those produced when Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor were in control. The translations comprise two categories: one is the Confucian classics and the other is sutras. Qianlong Emperor believed that despite the considerable time and effort required in the process, translation (retranslation) is necessary for the teachings of classics could enlighten the people.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:10, 12 October 2021 (UTC)&lt;br /&gt;
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4. The translation of Han books during the reign of Qianlong Emperor. &lt;br /&gt;
During Emperor Qianlong' s administration, translations of Han books shared great similarities with those produced in the reign of Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor. The translations included two categories: the Confucian classics and Buddhist sutras. Qianlong Emperor believed that despite a great deal of time and effort was required in the process, translation (retranslation) of classics is still necessary,  for which could enlighten people.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 01:21, 13 October 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。关于该书翻译的动机，《御制翻译四书·序》中有着明确的记载：朕于御极之初，命大学士鄂尔泰重加厘定，凡其文义之异同，意旨之深浅，语气之轻重，稍有未协者，皆令更正之。然抑扬虚实之间，其别甚微，苟不能按节揣称，求合于毫芒，而尽祛其疑似，于人心终有未慊然者。&lt;br /&gt;
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Let' s take the example of ''Royal Translation of the Four Books''. By Ortai the grand secretary on emperor' s demand, This version was compiled based on the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu. It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.&lt;br /&gt;
The motivation of translating this book was clearly recorded in its iintroduction: After acceded to the throne, I ordered Ortai the grand secretary to review the translation. Consulted the source text and the formal translation, there should be some corrections for the reorganized one to divergences in meaning, differences in implication and changes in tone. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 00:53, 13 October 2021 (UTC)&lt;br /&gt;
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For instance,the book of ''Royal Translation of the Four Books'',which was compiled on the basic of the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu by Ortai the grand secretary on emperor' s demand.It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.&lt;br /&gt;
As for the motivation of the translation of the book,which was recorded clearly in &amp;quot;the preface of Royal Translation of the Four Books&amp;quot;:shortly after my inauguration,I ordered Ortai to review the translation to find the digression from the source text about the meaning,theme,and tone and correct them. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:45, 13 October 2021 (UTC)（Luo Xi 罗曦）&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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几暇玩索，覆检旧编，则文义、意旨、语气之未能吻合者，仍不免焉。乃亲指授翻译诸臣，参考寻绎（yì），单词只字，昭晰周到，无毫发遗憾而后已。[10]（[10]清高宗敕译.御制翻译四书·序[M].清乾隆二十年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）&lt;br /&gt;
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After being thought over and checked by my retrieving some old references，those versions which were incongruous in meaning、theme and tone still need further improvement.Thus，I ordered and instructed official translators in person，searching many references and considering words over and over again，not getting it done until every word being perfect.【10】（10）translated by Gao Zongchi in Qing dynasty.Made by emperor and drawed from four translation books·the first version【M】.The complied version from the palace of Wu Ying in the twentieth year of Qian Long，blank page number. Tai Bei：National imperial Palace.）--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:47, 13 October 2021 (UTC)（Luo Xi罗曦）&lt;br /&gt;
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Even after being thought for several times and checked through retrieving some old references, those versions still needed further improvement that didn't match original ones in terms of textuality, intention and tone. Thus, I commanded and gave instruction to all translators in person, searching many old references and exploring every word to make sure the clarity and  accuracy of translation, no getting it done until there are no regrets left. [10] ([10] Translated by Emperor Gaozong of the Qing Dynasty. The Translation of the Four Books by Imperial Order. Preface[M]. The complied version published in the Hall of Martial Valor in 1755, the 20th year under the reign of Qianlong, blank page number. Taipei: National Palace Museum.)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:51, 13 October 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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由此可见，鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。乾隆三十三年，高宗敕译《诗经》，共八卷四册，亦由武英殿刊刻。然而，与《御制翻译四书》追求译文精准不同，《御制翻译诗经》则别有目的。&lt;br /&gt;
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It can be seen that the reason why Eertai was ordered by the Emperor to adjust the translation was to make it and the original text consistent in terms of &amp;quot;textuality&amp;quot;, &amp;quot;intention&amp;quot; and &amp;quot;tone&amp;quot;. In the 33th year of Qianlong's reign, Emperor Gaozong had commanded to translate ''The Book of Songs'' consisted of eight volumes and four books, which was also published and engraved by Hall of Martial Valor. ''The Translation of The Book of Songs by Imperial Order'', however, had a different purpose compared with ''The Translation of The Four Books by Imperial Order'' which pursued the accuracy of translation.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:40, 12 October 2021 (UTC)&lt;br /&gt;
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Another version: &lt;br /&gt;
It can be seen that Ertai, the famous minister in Qing Dynasty, was ordered by the Emperor to collate and stipulate translation criteria, with the aim of ensuring the accurate translation, so as to keep it consistent with the original text in terms of “textuality”, “intention” and “tone”. In 1768, the 33rd year under the reign of Qianlong, the Emperor Gaozong gave the command to translate ''The Books of Songs'' into 8 volumes and 4 books, which were printed and published in the Hall of Martial Valor. ''The Translation of The Books of Songs by Imperial Order'', however, had different purposes, compared with ''The Translation of The Four Books by Imperial Order'' whose emphasis was put on the precision of translation. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:45, 12 October 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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《御制翻译诗经·序》中说：是经于世祖章皇帝顺治十一年译定初本，体裁已备。阅时兹久，凡《清文鉴》所未赅（gāi）皙者，参采新定国语，侔（móu）揣务极精详。因命分册籖（qiān）题，几馀复为折衷是正。[11]&lt;br /&gt;
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It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that the original translation of ''The Books of Songs'' whose genres were comprehensive was finished in 1654, the eleventh year under the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:05, 12 October 2021 (UTC)&lt;br /&gt;
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It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that ''The Books of Songs'' was first translated in the eleventh year of the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:10, 16 October 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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（[11]清高宗敕译.御制翻译诗经·序[M].清乾隆三十三年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）上文中提及“是经”（即《诗经》）的初次翻译，即顺治十一年的顺治帝敕译本，该译本共二十卷二十册，由内府刊刻。然而，自顺治至康熙，满文的字词和语法等已经发生一定变化，用以规范满、汉文互用的辞书相继问世，这一点既给满语学习注入了活力，也给汉书翻译及其重新厘定提出了要求与条件。&lt;br /&gt;
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([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, since the Shunzhi to Kangxi, the words and grammar of Manchu has undergone certain changes to regulate the use of Manchu and Chinese dictionaries came out one after another, this point both to the Manchu language learning injected vitality, but also to the Chinese translation and its re-definition of the requirements and conditions.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 07:21, 12 October 2021 (UTC)&lt;br /&gt;
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([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, from Shunzhi to Kangxi, the words and grammar of Manchu had undergone certain changes. To regulate the mutual-use of Manchu and Chinese dictionaries came out one after another, which not only invigorated Manchu language learning, but also put forward requirements and conditions for the Chinese literature translation and its re-definition. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:15, 13 October 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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如康熙九年，正黄旗教习廖纶玑翻译（明）张自烈所撰《正字通》。康熙二十二年，沈启亮修成《大清全书》（实际是满汉词典），该书的修纂加深了人们对于满字的认识，也使学者更易明辨翻译之理。康熙四十五年，正白旗人桑格翻译《满汉同文分类全书》。&lt;br /&gt;
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For instance, Liao Lunji, a tutor of Pure Yellow Banner, translated Zheng Zi Tong written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign period, Shen Qiliang accomplished The Great Qing Encyclopedia( actually, The Dictionary of Chinese and Manchu Language), which had deepened people’s understanding of Manchu characters and helped scholars to distinguish the theories and methods of translation. In the forty-five year of Kangxi period, Sanger from Pure White Banner translated A Classification Book of Manchu and Chinese Identical Texts.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 October 2021 (UTC)&lt;br /&gt;
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For instance, in the ninth year of Kangxi reign, Liao Lunji, a tutor of Pure Yellow Banner, translated ''Zheng Zi Tong'' written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign, Shen Qiliang accomplished ''The Great Qing Encyclopedia''( actually, a dictionary of Chinese and Manchu ), which had deepened people’s understanding of Manchu characters and helped scholars to  discern the theories and methods of translation. In the forty-fifth year of Kangxi period, Sanger from Pure White Banner translated the ''Manchu-Chinese Bilingual Classification Dictionary''.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:51, 13 October 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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上述三种之外，康熙朝期间另有多种其它满语词典，如康熙二十八年的《清书十二字头》（听松楼刻本）、二十九年的《满汉同文全书》（秘书阁刻本）、三十二年的《同文广汇全书》（天绘阁刻本）、三十八年的《清书全集》（听松楼重刻本）、三十九年的《满汉类书》以及四十年的《满汉类书全集》，等等。康熙四十六年，《御制清文鉴》成书，全书共四函二十二卷，卷首有清圣祖玄烨御制序言，书末有编译者跋两篇。作为有清一代唯一一部由皇帝主持编纂的满文词典，《御制清文鉴》体例精湛，编排合理，在满语的发展史上具有划时代的历史意义。&lt;br /&gt;
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In addition to the above three, there are a variety of other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement, and has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:52, 13 October 2021 (UTC)&lt;br /&gt;
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Except the above mentioned three, there are other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi’s reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement which  has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:11, 13 October 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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关于康熙帝敕谕傅达礼编译此书的目的，《清实录》（卷四二）和《清史列传》（第375页）中皆有记载，但不及《康熙起居注》中详实。据《康熙起居注》中所载，康熙十二年四月十二日：上谓侍臣曰：“此时满洲，朕不虑其不知满语，但恐后生子弟渐习汉语，竟忘满语，亦未可知。且满汉文义照字翻译，可通用者甚多。&lt;br /&gt;
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The purposes of Emperor Kangxi which were  he empowered Fu Dali to edit and translate this book were  recorded in ''Factual Record of Qing Dynasty''  of Volume IV and II and in ''the Biographies in the Qing Dynasty'' of page 375. But they were more circumstantial in ''Record on Kangxi’s Daily Life''.  According to 'Record on Kangxi’s Daily Life'',  the emperor said to chancellors on April 12,1673:  I’m not afraid the contemporary Manchuria's ignorance towards Manchu language, but I’m not sure about whether the following generations will be accustomed to the Chinese by degrees and forget the Manchu language. And also the Manchu language is verbatim translated into Chinese, such translation can be used by many people.&lt;br /&gt;
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The purposes of Emperor Kangxi commanding Fu Dali to compile this book were recorded in ''Factual Record of Qing Dynasty'' （volume 42）and ''Biographies of the Qing Dynasty''(page 375) but the purposes logged in the ''Record of Emperor Kangxi’s Daily Office''were more detailed and real. According to this book, the emperor said to those courtiers on April 12,1673: &amp;quot;what I'm worried about is not the contemporary Manchurians’ ignorance of the Manchu language, but rather about whether the following generations will forget the Manchu language or not if they are gradually accustomed to Chinese. In addition, there are plenty of characters which can be in common use when translation is done word by word.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:25, 12 October 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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今之翻译者尚知辞意，酌而用之，后生子弟未必知此，不特差失大意，抑且言语欠当，关系不小。”因顾谓翰林院学士傅达礼曰：“尔任翰苑之职，可体朕此意，将满语照汉文字汇发明，某字应如何用，某字当某处用，集成一书，使有易于后学。”傅达礼奏曰：“皇上此旨，诚立教善后之盛心也。&lt;br /&gt;
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Today's translators still know the meaning of those words and use them after deliberating, but for children of the future, they may not understand. Not only will they differ greatly from the original meaning, but also they will use them in an inappropriate way. And it will matter a lot.” So the emperor said to Fu Lida, the academician of Imperial Academy: “ Since you occupy the office in the Imperial Academy, you should be able to read between my lines. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor: “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 14:47, 12 October 2021 (UTC)&lt;br /&gt;
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&amp;quot;Nowadays, translators still know the meaning of those words and use them after careful consideration, while for the youth, they may not understand. Not only will they use those words inappropriately, but also the meanings of those words will be quite different from the original one. And it will matter a lot.” So the emperor said to Fu Lida,  who was the academician of Imperial Academy at that time, “ Since you occupy the office in the Imperial Academy, you are able to understand my intention. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor, “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 11:15, 13 October 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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臣等虽不才，当祗尊俞旨，编辑成书，敬呈御览。”上谕曰：“此书不必太急，宜详慎为之，务致永远可传，方为善也。”[6]93-94由于当时的满文尚处在发展阶段，康熙帝担心随着满人逐渐汉化，满语使用的氛围也将逐渐消失，久而久之必致满语废止，这一点与康熙帝以清语为本的立场背道而驰。&lt;br /&gt;
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&amp;quot;Although we courtiers have limited ability, we will compile them into a book according to the your intention, and submit it to you for previewing&amp;quot;.The emperor indicated that, &amp;quot;this work should not be advanced too quickly but completed in detail and carefully，so that the book can be handed down forever, then the work is said to be finished well.&amp;quot; As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language  would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 06:16, 12 October 2021 (UTC)&lt;br /&gt;
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&amp;quot;Although we courtiers are not talented, we will compile them into a book in accordance with your mandate, and submit it for your previewing&amp;quot;.The emperor indicated that, &amp;quot;this work should not be advanced too quickly but completed detailedly and carefully，so that the book can be handed down forever, then the work is said to be finished well.&amp;quot; [6] 93-94 As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:35, 12 October 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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为了确保本书编译的严谨，康熙帝要求“解诂之疑,似者必晰同异于毫芒；引据之阙，遗者必援经史以互证。”[12]1（[12]清圣祖御制.御制清文鉴[M].康熙四十七年武英殿刻本.北京：中国民族图书馆藏.）需要指出，上文中所引“是经”即《御制翻译诗经》，该译本成书于乾隆三十三年。&lt;br /&gt;
In order to ensure the rigor of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature  [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:43, 12 October 2021 (UTC)&lt;br /&gt;
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In order to ensure the preciseness of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature  [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 10:47, 13 October 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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此时，虽然《御制四体清文鉴》和《御制五体清文鉴》的编译尚未启动，但经乾隆帝御制，已在康熙朝《御制清文鉴》和《清文合蒙古鉴》等早期词典的基础上，完成编纂《御制增订清文鉴》，进一步规范了满文的使用。且，顺治至乾隆的百余年间，满语发展的确出现了若干变化，原有汉书译本中的不少词汇和语法此时已不符合通行要求，因而“参采新定国语”，对旧译本重加厘定，使其“折衷为正”，乃时势所趋。而上述辞书的相继出现，说明满文已经发展到一个新的高度，为旧籍的重译与改译营造了条件。&lt;br /&gt;
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At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Complement of the Qing Dynasty's Dictionary'' was completed based on the early dictionaries of the Qing Dynasty and the Kangxi Dynasty with the help of Qianlong emperor, which further standardizes the use of Manchu literature.Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabulary and grammar in the original Han translation did not meet the prevailing requirements at that time. Therefore, it was the trend to &amp;quot;participate in the new language&amp;quot; and determine the old translation, so that it was &amp;quot;positive&amp;quot;.The emergence of the above dictionaries shows that Manchu has developed to a new height, creating conditions for the retranslation and translation of the old nationality.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:52, 12 October 2021 (UTC)&lt;br /&gt;
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At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Imperial Revised Qing Dynasty's Dictionary'' was completed based on the early dictionaries such as ''Imperial Qing Dynasty’s Dictionary'' in the Kangxi Dynasty, which further standardizes the use of Manchu. Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabularies and grammar in the original Chinese translation did not meet the common requirements at this time. Therefore, it was the trend to &amp;quot;adopt the new national language&amp;quot; and redefined the old translation to make it “compromise to right”. The emergence of the above dictionaries shows that Manchu has developed to a new level, creating conditions for the retranslation and translation of old books.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:04, 12 October 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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乾隆三十七年，高宗敕令于“禁中”设立“清字经馆”，以满、汉文佛经译本有失本真为由，令重译佛经为满文。据高文德所考，这些佛经典籍初被译为蒙古，后经蒙文转译成满文，前后历时十余载，使满、蒙、汉、藏四体经文始备。[13]2110（[13]高文德.中国少数民族史大辞典[Z].长春：吉林教育出版社，1995.）&lt;br /&gt;
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In the thirty-seventh year of Qianlong, Emperor Gaozong decreed to set up a “Manchu sutra hall” in the palace he lived, and ordered the retranslation of Buddhist sutras into Manchu on the grounds that the previous Manchu and Chinese versions were deviated from the true meaning. According to Gao Wende, these Buddhist classics were first translated into Mongolian, through which the Manchu version was then translated. It took more than ten years to prepare the editions in four languages: Manchu, Mongolia, Chinese and Tibet. [13]2110（[13]Gao Wende.Dictionary of Chinese Minority History[Z].Changchun: Jilin Education Press, 1995.）--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:08, 12 October 2021 (UTC)&lt;br /&gt;
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First:In the 37th of Emperor Qianlong’ s reign,…&lt;br /&gt;
Second:According to Gao Wende, these Buddhist scriptures were first translated into Mongolian and then into Manchu, which lasted for more than ten years, and the manchu, Mongolian, Han and Tibetan scriptures began to be prepared. [13] Gao Wende. A Dictionary of Chinese Minority History [Z]. Changchun: Jilin Education Press, 1995.)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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众所周知，佛教经典原以梵文书写，但清朝前期用作翻译的底本，多为汉文译本。从此意义上讲，佛经的翻译与先秦、两汉时期汉文经、史的翻译一样，也属汉书翻译之列。康熙年间，圣祖即令翻译《心经》，但雍正年间《四体翻译心经》译本方才成书，刊刻。&lt;br /&gt;
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As we all know, Buddhist classics were originally written in Sanskrit, but they were mostly translated into Chinese in the early Qing Dynasty. In this sense, the translation of Buddhist scriptures, like the translation of Chinese scriptures and history in the pre-Qin and Han dynasties, also belongs to the translation of Han Books. During the reign of Emperor Kangxi, Emperor Shengzu ordered the translation of The Heart Sutra, but during the reign of Emperor Yongzheng, the four-body Translation of the Heart Sutra was just completed and printed.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:47, 30 December 2021 (UTC)&lt;br /&gt;
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As we all know,Buddhist classics were originally written in Sanskrit,but most of texts that used to translate in the early Qing Dynasty were Chinese translation versions. In this sense,the translation of Buddhist scriptures,just like the translation of Chinese scriptures and history in the Pre-Qin and Han Dynasties, also belongs to the translation of Chinese books. During the reign of Kangxi, Emperor Shengzu ordered the translation of the Heart Sutra, but the translation of the four body translation of the Heart Sutra was only published and engraved during the reign of Yongzheng.  edited by Wang Zhenlong&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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所谓“四体”即满、蒙、汉、藏四种文字，佛经翻译之所以要采用四种语言，是因为四大族群皆普遍信仰佛教，因而四体合璧的译本便于信众诵读。乾隆在位六十年，对于佛经翻译甚为热衷，御制翻译经书十种，为顺、康、雍、乾四朝之最。《翻译四体楞严经序》中，乾隆帝曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书》，无不蒇（chǎn）事”，希望循康、雍之例，推动佛经翻译，并在敕译《诗经》的同时，完成第一部佛经作品的翻译，即《御制翻译名义集》。[14]15&lt;br /&gt;
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The so-called &amp;quot;four styles&amp;quot; are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of four styles  is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he was very keen on the translation of Buddhist scriptures and translated ten kinds of scriptures, which is the most among the four dynasties of Shun, Kang, Yong and Qian. In ''the preface to translating the four body Shurangama Sutra'', Emperor Qianlong once claimed that &amp;quot;in my spare time, I love to translate scriptures in Manchu, such as Yi, Shu, Shi and Si Zi Shu ,which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely the collection of imperial translation while the Book of Songs is translated. -- translated by Wang Zhenlong&lt;br /&gt;
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The so-called &amp;quot;four styles&amp;quot; are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of the combination of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he had strong passion on the translation of Buddhist scriptures. He translated ten kinds of scriptures totally, which is the most among the four emperors of Shun, Kang, Yong and Qian. In the preface to ''Translating Four Style Shurangama Sutra'', Emperor Qianlong once claimed that &amp;quot;in my spare time, I love to translate scriptures in Manchu, such as ''Yi'', ''Shu'', ''Shi'' and ''Si Zi Shu'' , which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely ''The Collection of Translation of Sanskrit Names by Imperial Order'' while ''the Book of Songs'' is translated.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:41, 13 October 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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（[14]清高宗御制.清高宗（乾隆）御制诗文全集[M].北京：中国人民大学出版社，1993.）所谓《翻译名义集》系南宋高僧法云于绍兴十三年（即1143年）编订的佛学翻译工具书，其中收录汉译梵文佛学名词千余条。雍正年间，世宗曾命人对此书的内容进行过节选，但未能成书。&lt;br /&gt;
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([14] ''The Collective Works of Poetry and Essays written by Imperial Order of Qing Gao Zong, Qianlong Empire''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a Buddhist translation reference book compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), in which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered ministers to choose the excerpt from the book, but finally cannot compile into a book.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 15:51, 12 October 2021 (UTC)&lt;br /&gt;
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([14] ''The Collective Works of Poetry and Essays by Imperial Order of Qinggaozong, Qianlong Emperor''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a reference book of Buddhist translation compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered the ministers to choose the excerpts from the book to compile a book but failed.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 13 October 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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至乾隆三十三年，高宗再次敕译此书，最终译成四体《御制翻译名义集》共二十卷，此书现藏于北京大学图书馆，并收入至《清代内府刻书目录解题》。与此同时，乾隆帝有感于“所译之汉经，藏地无不有，而独无《楞严》”，遂在章嘉国师的议请下，命允禄和章嘉国师等将该经“由汉而译清，由清而译蒙古，由蒙古而译土伯忒。”[14]15章嘉国师原名章嘉·若贝多杰，四岁被认定为转世灵童，八岁奉雍正帝圣谕赴京，十五岁给雍正帝灌顶，十八岁授封“灌顶普惠广慈大国师”。&lt;br /&gt;
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In the 33th year of the dynasty of Qianlong, the emperor ordered to translate the book again. Finally, the book ''The collection of Translation of Sanskrit Names by Imperial Order'' was translated into Manchu, Mongolian, Chinese and Tibetan in altogether twenty volumes. The book now is collected in Peking University Library and included in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. At the same time, after Qianlong emperor knew that there were all translations of Chinese scriptures except ''Lengyan'' in Tibet, under the advice of the Grand Maester Zhangjia he ordered Yunlu and the Grand Maester to translate the Chinese scripture into Manchu, then translate the Manchu to Mongolian, finally translate the Mongolian to Tibetan. The original name of the Grand Maester Zhangjia is Zhangjia•Ruobeduoje. When he was four years old, he was regarded as a holy reincarnation. At his eight years old he went to the capital because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor.  At his eighteen years old the title of Grand Maester of Abhisheka, Generosity and Benevolence was conferred to him.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:16, 12 October 2021 (UTC)&lt;br /&gt;
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During the 33th year of Qianlong, Gaozong ordered to translate this book again. At last, the book ''The Collection of Translation of Sanskrit Made by the Emperor Order'' was translated into Manchu, Mongolian, Chinese and Tibetan, including twenty volumes. This book now is collected in Peking University Library and recorded in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. Meanwhile, Emperor Qianlong was inspired by &amp;quot;All the Chinese sutras translated are available in Tibet, except the Surangama Sutra.&amp;quot;  As a result, the emperor ordered Yunlu and the Grand Maester Zhangjia to translate this sutra from Chinese into Qing, from Qing into Mongol, then from Mongol under the advice of the Master Zhangjia. The primitive name of Maester Zhangjia was Zhangjia•Ruobeiduoje. He was regarded as a reincarnated soul boy at four years old. At eight years old, he went to the capital city because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor.  At his eighteen years old, he was canonized as &amp;quot;The Enlightened, Inclusive and Philanthropic Grand Master.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:29, 13 October 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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章嘉国师博览群书，通晓汉、藏、满、蒙文字，著述颇丰，既撰写佛经作品逾二百部，又翻译佛经若干，如乾隆五年将大藏经《丹珠尔》译成蒙文，并编纂佛经翻译工具书《智慧之源》。章嘉国师发现《楞严经》后，于乾隆十七年奉旨协助庄亲王将该书译为满蒙、藏三种文字，并于乾隆三十八年译成四体合璧本。乾隆帝敕译此书的目的，也是出于政治方面的考虑，简单来说便是为了向藏族宣告其统治的正当性。&lt;br /&gt;
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Master Zhangjia was well-read, thoroughly understanding  Chinese, Tibetan, Manchu and Mongolian. He has written a prodigious number of famous works, including not only more than two hundred  Buddhist works, but also numerous Buddhist texts. For instance, he translated the ''Tanjur'' into Mongolian during the fifth year of Qian Long and compiled ''The Source of Wisdom'', a Buddhist translation reference book. After Master Zhangjia found ''Surangama Sutra'', he assisted Prince Zhuang in translating this book into Manchu, Mongolian and Tibetan during the seventieth year of Qianlong under the order of Qian Long. Besides, he accomplished an overall translation of it which contained all Chinese, Tibetan, Manchu and Mongolian versions during the thirty-eighth year of Qian Long. The emperor Qian Long ordered the translation of this book was for the political reasons. To put it simply, he aimed to declare the legitimacy of his rule to the Tibetans.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:37, 12 October 2021 (UTC)&lt;br /&gt;
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Master Zhang Jiaguo was familiar in Han, Tibetan, Manchu and Mongolian writings. He wrote more than 200 works of Buddhist scriptures, and at the same time also translated several Buddhist scriptures. For example, in the fifth year of Qianlong translated the Tibetan Sutra into Mongolian, and compiled the translation tool book The Source of Wisdom. After Master Zhang Jiaguo discovered the Leng Yan Sutra, in the seventeenth year of Qianlong, he assisted the translation of Mongolia and Tibet, and into the combination of the four bodies in the 38-th year of Qianlong. The purpose of Emperor Qianlong's translation of this book was also for political considerations, but simply to declare the legitimacy of his rule to the Tibetan people. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:50, 12 October 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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这一点与《大藏经》的翻译有所不同，后者除了政治目的之外，另有文化建设方面的考虑，乾隆帝甚至将其视为与《四库全书》一样的重大文化建设工程。如《清文翻译全藏经序》中所说：若订《四库全书》及以国语译《汉全藏经》二事，胥举于癸巳年六旬之后，既而悔之，恐难观其成。越十余载，而《全书》成；兹未逮二十载，而所译《汉全藏经》又毕蒇。&lt;br /&gt;
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This point is different from the translation of the ''Tibetan Tripitaka'' ''Italic text'' --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), which had political purposes in addition to cultural construction. Emperor Qianlong even regarded as a major cultural construction project as the ''Four Libraries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC). As said in the preface of the ''Complete Tibetan Sutra of the Qing Dynasty''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), if the Four liberals book ''Complete Collection of Four Treasuries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC) and the Complete Han Tibetan Sutra  were translated in Chinese after the 60s of Guisi, it may not be difficult to see it. More than ten years, and the book, which was not caught twenty years, and the translation of the &amp;lt;Han Sutra&amp;gt; had been finished.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 15:18, 11 October 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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夫耳顺、古希已为人生所艰致，而况八旬哉？兹以六旬后所创为之典，逮八旬而得观国语《大藏》之全成，非昊乾嘉庇，其孰能与于斯？[14]8-9《四库全书》之“四库”系指该书分经、史、子、集四部，故名“四库”。&lt;br /&gt;
At the age of 60 or 70, life has reached a difficult stage. What's more, at the age of 80? I was preparing to propose to create this classic in my 60s, so I could see the complete Manchu version of Da Zang in my 80s. If there was no heaven's protection during the Qianlong and Jiaqing dynasties, how could it be so far? “Si Ku&amp;quot; in Si Ku Quan Shu means that the book is divided into four parts: classics, history, Zi and Ji, so it is called &amp;quot;Si Ku&amp;quot;.&lt;br /&gt;
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For those who are in their 60s or 70s,  life has reached a difficult stage, let alone 80s. However, now Emperor Qianlong successfully created this classic in his 60s, and witnessed  the completion of the Manchu version of ''Tibetan Tripitaka'' in his 80s. If without heaven's protection and endowment, who could have achieved so far? The “four branches” in the ''Complete Library in the Four Branches of Literature'' refers to its four parts: classics, history, philosophy and belles-lettres, thus given the name.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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作为古代中国最大的文化工程，《四库全书》是中华传统文化最丰富、最完备的集成之作，最能体现乾隆帝的文治武功。而上文中，乾隆帝意欲将《大藏经》（即《汉全藏经》）的翻译与《四库全书》相比，可见此事关系之重大。由上可知，《大藏经》的翻译始于乾隆“癸巳年”，即乾隆三十八年（1773年），至全书译成，“未逮二十载”，而此时高宗已近八旬，早已步入人生艰困之期。&lt;br /&gt;
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As the largest cultural project of the ancient China, the ''Complete Library of the four Branches of Literature'' is the richest and most comprehensive collection of Chinese traditional culture, which best represents the great achievement of Emperor Qianlong's civil administration. As mentioned before, Emperor Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773, the 38th year of Qianlong's reign and took less than 20 years to be fully completed, when Emperor Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:51, 13 October 2021 (UTC)&lt;br /&gt;
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As the largest cultural project of the ancient China, the ''Complete Library of the Four Branches of Literature'' is the richest and most completed collection of Chinese traditional culture, which best represents the political and military achievements of Emperor Qianlong's civil administration. As mentioned above, Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the Four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773（the 38th year of Qianlong's reign） and took less than 20 years to be fully completed, while Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 04:01, 13 October 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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关于乾隆帝敕译《大藏经》一事，《啸亭杂录·续录》中也有记载，不过在翻译的起始时间，以及全书翻译的耗时上，与上文所述有所不同。其中写道：乾隆壬辰，上以《大藏佛经》有天竺番字、汉文、蒙古诸翻译，然其禅悟深邃，故汉经中咒偈，为代以翻切，并未译得其秘指，清文句意明畅，反可得其三味，故设清字经馆于西华门内，命章嘉国师经理其事，达天、连筏诸僧人助之，考取满謄录、纂修若干员翻译经卷。先后凡十余年，《大藏》告蒇，然后四体经自始备焉。[15]385&lt;br /&gt;
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As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are complete.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 02:55, 13 October 2021 (UTC)&lt;br /&gt;
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As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are completed.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 03:11, 13 October 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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（[15]（清）昭梿.啸亭杂录·续录[M].上海：上海古籍出版社，2012.）将《清文翻译全藏经序》和《啸亭杂录·续录》两相对比后可发现，二者关于《大藏经》翻译的起始时间不同，其中前者记载的时间是乾隆“癸巳年”，即乾隆三十八年，而后者则明确是“乾隆壬辰”，即乾隆三十七年，孰是孰非，有待考证。另外，关于《大藏经》翻译的实践跨度，二者的出入较大，前者的用词是“未逮二十载”，后者则说“先后凡十余年”，综合其它文献可知，前一种说法更为准确。&lt;br /&gt;
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([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Publishing House, 2012.) After comparing the &amp;quot;Preface to the Qing Translation of the Complete Tibetan Sutra&amp;quot; with the &amp;quot;Xiao Ting Miscellaneous Records - Continuing Records&amp;quot;, we can find that the start time of the translation of the Dazang Sutra in this two books is differant, of which the former is recorded in the Qianlong &amp;quot;kaisi year&amp;quot;, that is, the thirty-eighth year of the Qianlong era, while the latter is clearly &amp;quot;Qianlong renchen&amp;quot;, i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect, remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 14:08, 11 October 2021 (UTC)&lt;br /&gt;
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([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Press, 2012.) After comparing the &amp;quot;Preface to Tripitaka in Manchu&amp;quot; with the &amp;quot;Xiao Ting Miscellaneous Records - Sequel&amp;quot;,we can find that the starting time of the translation of the Dazang Sutra in these two books is differant, of which the former is recorded in the Qianlong &amp;quot;kaisi year&amp;quot;, that is, the thirty-eighth year of the Qianlong reign, while the latter is specifically &amp;quot;Qianlong renchen&amp;quot;, i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect remains to be verified.  In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 02:04, 13 October 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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乾隆五十五年，满文本《大藏经》译成，初定名《清文全藏经》，其中“全藏”二字即“大藏之全”的意思。《清文全藏经》共计二千五百三十五卷、一百零八函，收入佛教典籍六百九十九部。为了翻译此书，乾隆帝不仅钦派章嘉国师主持，而且派皇子、大臣，以及通晓满、汉、蒙、藏文者共百余人参与其中，其中绝大多数为翻译人员。&lt;br /&gt;
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During the 40th year of the Qianlong Emperor,the translation of &amp;quot;Tripitaka&amp;quot; first called &amp;quot;Tripitaka in Manchu&amp;quot; was completed, among which &amp;quot;quan zang&amp;quot; means &amp;quot;all-sided masterpiece&amp;quot;. The translation had 2535 volumes and 108 han, including 699 Buddhist classics.In order to translate the work, Qianlong Emperor not only assigned Zhang Jiaguoshi to be in charge and asked his sons, ministers and hundreds of people who were proficient in Manchu, Chinese and Tibetan to be involved. And most of them were translator.&lt;br /&gt;
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During the 40th year of the Qianlong Emperor, the translation of &amp;quot;Da Zang Jing&amp;quot; first called &amp;quot;Qing Wen Quan Zang Jing&amp;quot; was completed, among which &amp;quot;Quan Zang&amp;quot; means &amp;quot;all-sided masterpiece&amp;quot;. The translation had 2535 volumes and 108 letters, including 699 Buddhist classics. In order to translate the work, Qianlong Emperor not only assigned Zhang Jia, the imperial monk, but also assigned more than 100 people, most of whom were translators, to participate in the translation, including the emperor's sons, ministers, and people who were proficient with Manchu, Chinese, Mongolian and Tibetan.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 02:15, 13 October 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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乾隆五十五年十二月，因清字经馆遭遇火灾，《清文全藏经》的部分经版和已经刊刻的经文译文被毁，后经重新雕版印刷，于乾隆五十九年全部完成，并交内府刊刻。据考，《清文全藏经》共计印刷十二部，目前存世仅两部，其中一部存于西藏布达拉宫（缺一册），另一部则由北京、台北两地故宫博物院共同收藏，其中北京收藏七十六函，台北收藏三十二函。如前所述，乾隆帝敕译此经，有着明确的文化建设的用意，希望通过翻译佛经推广佛教文化，并同时推广作为国语的满文，实现宣扬教化的目的。&lt;br /&gt;
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In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Qing Zi Classics library, some base plate of &amp;quot;Qing Wen Quan Zang Jing&amp;quot; and translated texts already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the imperial Palace for printing. According to a research, there are a total of twelve copies of the &amp;quot;Qing Wen Quan Zang Jing&amp;quot; printed, of which only two are in existence.  One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong translated the Sutra with a clear intention of cultural construction, He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time promote Manchu as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 01:23, 13 October 2021 (UTC)&lt;br /&gt;
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In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Manchu Langugage Classics Library, some base plates of ''the Manchu Language Translation of Tripitaka'' and translated texts that already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the Imperial Palace for printing. According to a research, there are a total of twelve copies of the ''the Manchu Language Translation of Tripitaka'' printed, of which only two are in existence.  One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong issued the edict to translate the ''Tripitaka'' with a clear intention of cultural construction. He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time to promote Manchu language as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 05:38, 13 October 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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正如乾隆帝在《清文翻译全藏经序》中指出的那样：以国语译《大藏》，恐人以为惑于祸福之说，则不可不明示其意。夫以祸福趋避教人，非佛之第一义谛也。第一义谛，佛且本无，而况乎祸福乎？&lt;br /&gt;
As Emperor Qianlong pointed out in ''the Preface to the Manchu Language Translation of the Whole Tripitaka'' : if we translate ''Tripitaka'' in Manchu language, I am afraid of that people misunderstand us for being confused by misfortunes and blessings. So we must express our intension clearly. It is not the absolute truth of Buddha to teach people with avoiding misfortunes and chasing after blessings. The absolute truth is that there is no Buddha, let alone misfortunes and blessings?--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 01:00, 13 October 2021 (UTC)&lt;br /&gt;
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if we translate ''Tripitaka'' in Manchu language, I am afraid that people misunderstand us for being confused by misfortunes and blessings.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:55, 13 October 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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我们不可以因为第一义训的原因，用因缘祸福作为引导逐渐深入。我的目的并不在此，梵经首先是被翻译成外语，再翻译成汉语，最后才翻译成蒙古语，而我们清朝统治中国一百多年，他们三方长期以来都归我们管，如果唯独缺满语的《大藏经》可以吗？&lt;br /&gt;
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We can't use reason, misfortune and blessing as a guide to gradually deepen because of the first righteous precept. My purpose is not here. The ''Sanskrit'' scriptures were first translated into a foreign language, then translated into Chinese, and finally translated into Mongolian. And our Qing Dynasty ruled China for more than 100 years.  They have been under our control for a long time. Is the ''Tripitaka'' without Manchu language okay?&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:48, 13 October 2021 (UTC)&lt;br /&gt;
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If only the ''Dazangjing'', which lacks Manchu language, is okay?--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:52, 13 October 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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以汉译国语，俾中外胥习国语，既不解佛之第一义谛，而皆知尊君亲上、去恶从善，不亦可乎？是则朕以国语译《大藏》之本意，在此不在彼也。[14]9;[16]28（[16]庄吉发.国立故宫博物院典藏《大藏经》满文译本研究[A].庄吉发.清史论集（三）[C].台北：文史哲出版社，1998：27-96.）&lt;br /&gt;
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They translated the book from Chinese into Manchu Language, Let everyone learn Manchu Laguage, Even if they don’t understand the First Substance of the Buddhist scriptures, will still know that the emperor himself on the linem，To remove the bad parts and follow the good parts，Isn't it a good thing? That’s why I wanted to translate the ''Tripitaka''  in Manchu Language. [14]9;[16]28（[16] Chuang Chi-fa. A Study of the Manchu Language  Version of ''Tripitaka'' from the Collection of the Palace Museum [A]. Chuang Chi-fa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:43, 13 October 2021 (UTC)&lt;br /&gt;
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Translate the Tripitaka from Mandarin into Manchu so that everyone can learn Manchu. Although they do not understand the true meaning of Buddhist scripts, they all know that they should respect the monarch and do good. Isn't that also useful?Therefore, the original intention of my order to translate the Tibetan Tripitaka into Manchu is for this goal.[14]9;[16]28 ([16] Zhuang Jifa. A Study of the Manchu Language  Version of ''the Tibetan Tripitaka''from the Collection of thePalace Museum [A]. Zhuang Jifa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:35, 13 October 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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上文中，清楚地表明了乾隆帝谕令翻译此经的用意，总结起来无外乎三点：其一，《大藏经》已有汉、藏、蒙语三种译本，独缺满文本，这一点与满洲为天下主的社会现实格格不入；其二，满语既为国语，则必须维持，并强化其学习，翻译《大藏经》这样的佛教经典乃是达成此目的的重要途径；其三，《大藏经》的翻译虽不能使人东西佛之第一义谛，但通过研习其中教义，也能使人尊君亲上，去恶扬善，培养人伦纲常观念。固然，《大藏经》的翻译并非乾隆朝佛经翻译的全部，但却是其中关系最切，最具代表性者，它所蕴含的政治、文化目的贯穿于所有佛教经典的翻译之中。&lt;br /&gt;
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The above clearly shows the intention of Emperor Qianlong's order to translate this sutra. To sum up, there are no more than three points:First, there are three versions of the Tibetan Tripitaka in Chinese, Tibetan and Mongolian, but there is a lack of full texts, which is incompatible with the social reality that Manchuria is the master of the world.Second, since Manchu has been the national language, it is necessary to maintain and strengthen its learning, and the translation of Buddhist scriptures such as the Tibetan Tripitaka is an important way to achieve this goal.Third, although the translation of the Tibetan Tripitaka can not make people understand the true meaning of Buddha, through the study of its teachings, it can also make people respect the monarch and relatives, eliminate evil and promote good, and cultivate the concept of human relations.Of course, the translation of the Tripitaka is not the whole translation of Buddhist sutras in Emperor Qianlong Period, but it is the most relevant and representative one, and its political and cultural purpose runs through all the translation of Buddhist scriptures.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 06:42, 13 October 2021 (UTC)&lt;br /&gt;
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The above clearly expresses Emperor Qianlong's intentions to tranlate Tripitaka.To sum up, there are no more than three points. Firstly, Tripitaka was already translated in Chinese, Tibetan and Mongolian. But it was never translated in Manchu, which was incompatible with the fact that Manchu was the master of China. Secondly, as Manchu was the offical language, it was nessary to maintain its position and promote its leanring by others. Translating the Buddhist calssic work &amp;quot;Tripitaka&amp;quot; was an important way to achieve this goal. Thirdlly, translating Tripitaka could not enable people to understand its true meaning, but it push people to respect the emperor and parents, promote goodnes and get rid of bad behaviors, and cultivate ethical codes. However, Tripitaka, not the only Buddhist classic work translated in the period of Emperor Qianlong,is the closest translation work and the most representative one. Its political and cultural purpose behind translation runs through all the translations of Buddhist classics.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 10:21, 17 October 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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五、汉书翻译的文化统制意涵。清初统治者对待汉文化的整体态度不尽相同，这一点毋庸置疑。日本学者安部健夫曾将清代中、前期的文化政策分为三个阶段，分别是“偶然华化期”、“积极华化期”和“消极华化期”。其中，太祖、太宗时期的文化政策属于第一个阶段，顺治、康熙二朝属于第二个阶段，雍、乾、嘉、道四朝则属于第三个阶段。[17]5-11&lt;br /&gt;
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Five: The culture dominates the meaning in the process of translating Chinese classics. It is generally admitted that the rulers of the Qing Dynasty have slightly different attitudes toward Han Culture. The cultural policies of the early and middle Qing Dynasty once were divided into three stages by Japanese scholar Anbu Jianfu. They are &amp;quot;Accidental Chinese Transformation&amp;quot;, &amp;quot;Active Chinese Transformation&amp;quot; and &amp;quot;Passive Chinese Transforamtion&amp;quot;. Thereinto, the cultural policy of Qing Taizu and Qing Taizong belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage. {17}5-11 --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 15:53, 15 October 2021 (UTC)&lt;br /&gt;
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Five: The culture dominates the meaning in the process of translating Chinese classics. There is no doubt that the overall attitude of the rulers in the early Qing Dynasty towards Han Culture was different. Japanese scholar Abe Takeo has divided the cultural policies of the Middle and Early Qing Dynasties into three stages, namely, &amp;quot;Accidental Chinese Transformation&amp;quot;, &amp;quot;Positive Chinese Transformation&amp;quot; and &amp;quot;Passive Chinese Transforamtion&amp;quot;. Among them, the cultural policy of Taizu and Taizong in Qing Dynasty belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage.{17}5-11--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 13:27, 17 October 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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（[17]安部健夫.清朝史の構造とその動因[A].安倍健夫.清代史の研究[C].東京：創文社，1981：5-11.）然而，统治者态度由积极转向消极，并不意味着满、汉文化接触的广度与深度由高走低，而只能说明统治者面对满、汉文化地位的此消彼长，所产生的民族文化意识的觉醒。虽然满洲统治者为了维护满洲文化于不坠，提倡“清语骑射”的基本国策，但又不得不进行文化整合，选择以汉文化作为国家的主流价值。&lt;br /&gt;
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（[17]Abe Takeo.The structure of Qing Dynasty history and its causes[A].Abe Takeo.Research on the History of Qing Dynasty[C].Tokyo:Creation Society，1981：5-11.）However, the change of the ruler's attitude from positive to negative does not mean that the breadth and depth of cultural contact between Manchuria and Han has changed from high to low, but only indicates the awakening of the ruler's national cultural consciousness when facing the change of manchuria and Han's cultural status.Although manchurian rulers advocated the basic state policy of ''Chinese riding and shooting'' in order to maintain Manchurian culture, they had to carry out cultural integration and chose Han culture as the mainstream value of the country.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 01:57, 13 October 2021 (UTC)&lt;br /&gt;
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（[17] Anbu Jianfu. The Structure and Formative Agent of Qing Dynasty History[A].Anbu Jianfu. The Research of the History of Qing Dynasty[C].Tokyo：Chuangwen Club,1981：5-11.） However,governor's attitude changing from positive to negative didn't mean that the contact between Manchu culture and Han culture decreased in breadth and depth, but only showed that governor's ethical cultural consciousness awakened in the face of the changing culrural status of Manchu and Han. Although Manchu governor advocated &amp;quot;Manchu language and equestrian archery&amp;quot; as the basic state polic in order to protect Manchu culture from decling, they had to carry on cultural integration in which Han culture was choosed as the mainstream value of the country.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 02:06, 13 October 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正是在这样一种看似矛盾，而又颇显自然的文化态度中，以文化“统制”和文化建设为目的的汉书翻译事业得以进行。事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，汉书的翻译可用于“临政规范”，以及国家的治理模式。[4]5325顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖以它们作为倡导礼义教化的工具。&lt;br /&gt;
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It is in such a seemingly contradictionary but quite natural cultural attitude that the translation of Han Shu could be proceeded aiming at cultural &amp;quot;harmonization and regualtion&amp;quot; and cultural development. Actually, as early as Taizong Period, transalation of Han Shu could be used for the &amp;quot;standard form of handling affairs&amp;quot; and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the reign of Shunzhi, Emporer regarded ''The Great Learning'' and ''The Doctrine of the Mean'' translated by A Shitan as the tool to advocate moral tool.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 14:37, 11 October 2021 (UTC)&lt;br /&gt;
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It is exactly in such a seemingly contradictory but also natural attitude towards culture can the translation of Han Book with the purpose of cultural &amp;quot;unification&amp;quot; and cultural construction proceed. In fact, at the period of Taizong, the transalation of Han Book could be used for the &amp;quot;standard form of handling affairs&amp;quot; and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the Shunzhi period, Emperor regarded ''The Great Learning'' and ''The Doctrine of the Mean'' translated by A'Shitan as the tool to advocate morality.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 10:36, 20 October 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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总之，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无。就连《诗经》中提到的各种花草树木、鸟兽虫鱼等，也对拓展满人见闻，增进满、汉交流颇有助益。[18]222-223（[18]叶高树.《诗经》满文译本比较研究——以《周南》、《召南》为例[J].国立台湾师范大学历史学报，1992（20）：219-234.）&lt;br /&gt;
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In short, the translation and prints of Chinese classics and history can help correct Manchurian's morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even the flowers,trees,birds,beasts,insects,fish etc mentioned in the ''Book of Songs'' somewhat have helped expand Manchurian's knowledge and enhance the intercommunication between Manchu and Han.[18]p.222-223. (Ye,Gaoshu. ''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.'', Bulletin of Historical Research of National Taiwan Normal University, No.20(1992):p.219-234.)--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:38, 13 October 2021 (UTC)&lt;br /&gt;
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In short, the translation and prints of Han classical and historical works can help correct Manchurian’s morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even various kinds of flowers, trees, birds, beasts, insects, fish mentioned in the “Book of Songs” somewhat have helped expand Manchurian’s knowledge and enhance the inter communication between Manchu and Han.[18]222-223([18]Ye Gaoshu. “The Comparative Study of the Manchu Translations of Book of Songs—Case Study of Zhounan and Zhaonan.”Journal of the History of National Taiwan Normal University No.20(1992):p.219-234.)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:58, 13 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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诚然，有清一代，并非只有官方组织翻译汉书，私人译书也很盛行。据《世界满文文献目录》可知，清代的私人译书历时悠久，范围广泛，于经、史、子、集皆有涉猎，且翻译成书之后，往往有不同刻本、抄本。仅以小说、戏曲为例，二者的满文译本便多达四十六种。[19]47-53&lt;br /&gt;
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To be sure, it was not only official organizations that translated Chinese books, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering a subset of Classic historical. And after being translated into books, they often had different engraved books and copies. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 15:29, 12 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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To be sure, it was not only official organizations that translated Han Shu, but private person also liked to do that during Qing Dynasty.  According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering classical works, historical works, philosophical works, and prose and poetry, the four categories of a traditional Chinese library. And after being translated into books, they often had different engraved books and transcripts. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:49, 13 October 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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（[19]富力.世界满文文献目录[Z].北京：中国民族古文字研究会，1983.）但官方翻译汉书与私人译书不同，无论在译书的取材上，还是在译书的组织管理上，又或在译书的颁行上，都有其不同于私人译书的特殊考量。即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了兵法与战略意义。&lt;br /&gt;
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（[19] Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for  Ancient Scripts of National Minorities, 1983.)&lt;br /&gt;
However, official translation of Han Shu was different from private translation. There were special considerations different from private translation, whether in the selection of materials, the organization of translation, or the promulgation of translation. Even popular literary works such as the Three Kingdoms (Popular Romance) had been given military and strategic significance after being translated into Manchu.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 15:13, 12 October 2021 (UTC)&lt;br /&gt;
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Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for  Ancient Scripts of National Minorities, 1983.)&lt;br /&gt;
However,different from private translations of Han Books,the official one was special in the selection of materials, the organization or the promulgation of translation. Even such popular literary works as the ''Three Kingdoms'' (Popular Romance) had been given military and strategic significance after being translated into Manchu script.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 02:52, 13 October 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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显然，以满文遍译汉书，尤其是经、史、子、集等，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过翻译“研究微言，讲求古义”，进行文化沟通。[3]91藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，最终实现治统与道统的合一。而乾隆朝时期，尤其是乾、嘉二朝年间，统治者对于汉籍翻译的成效，也的确颇感自豪。&lt;br /&gt;
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Obviously, the purpose of translating  Han Books into Manchu scripts,especially the confucian classics,historical books,works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system,but to&amp;quot;make the study of Confucian classics known and followed by the world&amp;quot;,as was said&amp;quot; other schools can never be as profound and subtle as the Confucianism&amp;quot;, to enable cultural communication by means of&amp;quot;studying the profound and subtle language in search of reasons and moral principles&amp;quot;&lt;br /&gt;
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in &amp;quot;governing and controlling&amp;quot; the Han people in the process of contact and learning, which gradually transformed the nature of the Manchurian regime into&amp;quot;the regime of the central plains&amp;quot; and realized the unity of governance and Taoism. During the reign of emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:44, 13 October 2021 (UTC)&lt;br /&gt;
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Obviously, the purpose of translating the books of Han into Manchu scripts,especially the confucian classics, historical books, works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system, but to&amp;quot;make the study of Confucian classics known and followed by the world&amp;quot;,as was said&amp;quot; other schools can never be as profound and subtle as the Confucianism&amp;quot;, to enable cultural communication by translating&amp;quot;studying the profound and subtle language in search of reasons and moral principles&amp;quot;&lt;br /&gt;
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in &amp;quot;governing and controlling&amp;quot; Han people in the process of contacting and learning, which gradually transformed the nature of the Manchurian regime into&amp;quot;the regime of the central plains&amp;quot; and realized the unity of governance of ruling and Taoism. During the reign of Emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:57, 13 October 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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《钦定八旗通志》中说：列圣以来，表章经学，天下从风，莫不研究微言，讲求古义，尤非前代之所及。故先译《四书》，示初学之津梁。至于《五经》、《易》则略象数之跡 ，示其吉凶；《书》则疏佶屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄讬可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。&lt;br /&gt;
Imperially Commisioned &amp;quot;Genealogies of Eight Banners&amp;quot; said: &amp;quot;Since the previous dynasties, ''Six meridians''highly praised, the whole society were indulged and made a study of it. Never before has there been such a study of ancient meanings in any dynasty.&amp;quot; Therefore, The Four Books was translated first as the bridge for the beginners. As for ''The Five Classics'' and ''The Book of Changes'', they slightly speculated about changes in the universe or human life to indicate the good luck and bad luck; ''The Book of History''explained the hard and difficult words and turned them into intelligible content; ''The Book of Songs''imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can be seen; In ''Book of Rites'', everything's name and information must be detailed and principles and sayings must be appropriate, especially various and different opinion.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:49, 13 October 2021 (UTC)&lt;br /&gt;
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Imperially Commisioned &amp;quot;Genealogies of Eight Banners&amp;quot; said: &amp;quot;Since the previous dynasties, “Six meridians”highly praised, the whole society were indulged and studied it. Never before has there been such a study of ancient meanings in any dynasty.&amp;quot; Therefore, The Four Books was translated first as the bridge for the beginners. As for “The Five Classics”and “The Book of Changes”, they slightly speculated about changes in the universe or human life to indicate the fate; “The Book of History”explained the hard and difficult words in an intelligible way; “The Book of Songs”imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can totally be seen; In “Book of Rites”, everything's name and other information must be detailed.Besides,principles and sayings must be appropriate, especially various and different opinions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:46, 13 October 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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盖先儒之诂经，多株守其文，故拘泥而鲜通；此篇之诂经，则疏通其意，故明白而无误。不立笺（jiān）传之名，不用注疏之体，而唇吻轻重之间，自然契删述之微旨，厥有由矣。……其有裨于文教，均为至大。虽尧帝之文章，尼山之删定，又何以加于兹哉。[20]5-6&lt;br /&gt;
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It was said that most of previous confucionists'classical texts stuck to the original words, so the texts were not clear and coherent enough to make it understood:And this classical text was written clearly to convey the meaning which can make readers understand the meaning accurately. The text was not in the name of notes, not in the style of notes, but in a detailed and appropriate way to explain the connotation and theme of the text.So when readers opened their mouth and read it, they can automatically understand the profound meaning which was omitted.It all made sense ......It was of great benefit to culture and education which were the most important aspect in society. Although Emperor Yao wrote the article and Ni Shan revised it, but how can it surpass this article?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:49, 13 October 2021 (UTC)&lt;br /&gt;
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mostly abide by its text, so it is rigid and fresh--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 07:16, 13 October 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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（[20]（清）铁保等.钦定八旗通志[Z].景印清嘉庆四年刻本.台北：台湾学生书局，1968.）上文提到的《四书》等汉文典籍多为乾隆朝所译，其中《四书》译成于乾隆二十年，《易》（即《周易》）、《诗》（即《诗经》）、《礼记》和《春秋》等分别译成于乾隆三十年、三十三年、四十八年和四十九年。官方在翻译上述书籍的过程中，将经典的章句训诂含扩于译文之内，目的就是为了化解时人对于经义的歧见，统一学术，帮助统治者实现文化“统制”。[3]87&lt;br /&gt;
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（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing four years engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the &amp;quot;four books&amp;quot; and so on Chinese classics translation in the qianlong dynasty, the &amp;quot;Four books&amp;quot; into in qianlong 20 years, &amp;quot;Yi&amp;quot; (i.e. I Ching), &amp;quot;Poem&amp;quot; （i.e. The book of songs), &amp;quot;The rites&amp;quot; and &amp;quot;The spring and autumn&amp;quot; and so on are translated in qianlong 30 years, 33 years, 48 and 49 years. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation, in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural &amp;quot;control&amp;quot;.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 00:53, 13 October 2021 (UTC)&lt;br /&gt;
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（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing the fourth year engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the &amp;quot;four books&amp;quot; and so on Chinese classics were mostly translated in Qianlong period, in which the &amp;quot;Four books&amp;quot; were translated in the 20th year ruled by Qianlong, &amp;quot;Yi&amp;quot; (i.e. I Ching), &amp;quot;Poem&amp;quot; （i.e. The book of songs), &amp;quot;The rites&amp;quot; and &amp;quot;The spring and autumn&amp;quot; and so on are respectively translated in the year 30, 33, 48 and 49 under the reign of Qianlong. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural &amp;quot;reign&amp;quot;.[3]87--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:57, 13 October 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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如康熙四十七年，《清文鉴》编成，此举使满文的“大经大法，咸有依据；一话一言，式循典制。”[7]13康熙五十六年，为整理并规范蒙古语文，圣祖敕令以蒙文翻译《清文鉴》，纂成《清文合蒙古鉴》。然而，逮乾隆三十八年，高宗以“语言文字之传，不能不随方随时，代为变易”为由，纂成《御制增订清文鉴》。&lt;br /&gt;
For example, in the forty-seventh year under the reign of Kangxi during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made &amp;quot;every article and code in Man has its basis, and each sentence and word in Man in accordance with a typical system.&amp;quot;[7]13 In the fifty-sixth year ruled by Kangxi, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that &amp;quot;the transmitting way of language and characters has to be kept changing as time goes by and places change&amp;quot;.&lt;br /&gt;
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:48, 13 October 2021 (UTC)&lt;br /&gt;
For example, in the forty-seventh year under the reign of Kangxi emperor during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made &amp;quot;every article and code in Manchu has its basis, and each sentence and word in Manchu in accordance with a typical system.&amp;quot;[7]13 In the fifty-sixth year ruled by Kangxi emperor, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that &amp;quot;the transmitting way of language and characters has to be kept changing as time goes by and places change&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:20, 13 October 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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该书以词目分类，以满汉合璧形式呈现，所谓“国书之左，译以汉音”，而“汉书之右，译以国书”，以便“读者因汉文可以通国书，因国书可以通汉文”，使人人共晓，并“昭示来兹，为万万世同文之准”。[21]1-2（[21]（清）傅恒等.御制增订清文鉴[M].台北：台湾商务印书馆，1986.）《御制增订清文鉴》成书后，乾隆帝又以“前书只载国语、汉语，而未及蒙古”为由，仿前例敕撰《满洲蒙古汉字三合切音清文鉴》，并于嗣后相继编成《御制四体清文鉴》和《御制五体清文鉴》。&lt;br /&gt;
The book is categorised by words and presented in a combined Manchu-Chinese format, so that &amp;quot;in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment&amp;quot;, and &amp;quot;on the right side of the Chinese language, there is a column translated into Manchu&amp;quot;,so that &amp;quot;readers can see the Chinese to understand the Manchu language, see the Manchu language can understand the Chinese language&amp;quot;, so that all people can understand the two languages, and &amp;quot;to future generations of the world to show that such a writing becomes the table of reference for all ages&amp;quot;. [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that &amp;quot;The first book only recorded Manchu and Chinese, but not Mongolian&amp;quot;, hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into   ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 16:03, 12 October 2021 (UTC)&lt;br /&gt;
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The book is classified by words and presented in a combined Manchu-Chinese form，so that &amp;quot;in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment&amp;quot;, and &amp;quot;on the right side of the Chinese language, there is a column translated into Manchu&amp;quot;,so that &amp;quot;readers can see the Chinese characters to understand the Manchu language, see the Manchu language can understand the Chinese language likewise&amp;quot;, so all people can understand the two languages, and &amp;quot;to future generations of the world to show such a writing becomes the table of reference for all ages&amp;quot;. [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that &amp;quot;The first book only recorded Manchu and Chinese, but not Mongolian&amp;quot;, hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into   ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:02, 13 October 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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在上述书籍的翻译与编纂过程中，乾隆帝不断赋予其“同文”和“大同”的文化意涵，从不同民族文字皆具备“载道”能力的理念出发，借由翻译和比对的方式，在不同民族文化之间，实现沟通观念，强化统治的目的。结语。满清开国以来，历代君主皆勤于学习汉族历史与文化，以汲取统治经验。&lt;br /&gt;
In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural meaning of &amp;quot;Tongwen&amp;quot; and &amp;quot;Datong&amp;quot;. Starting from the idea that different national languages have the ability to &amp;quot;carry Tao&amp;quot;, he realized the purpose of communicating ideas and strengthening rule between different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, monarchs of all dynasties have been diligent in learning the history and culture of the Han nationality in order to learn from the ruling experience.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:43, 12 October 2021 (UTC)&lt;br /&gt;
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In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural connotation of &amp;quot;Tongwen&amp;quot; and &amp;quot;Datong&amp;quot;. Starting from the idea that different national languages have the ability to &amp;quot;carry Tao&amp;quot;, he realized the purpose of communicating ideas and strengthening ruling within different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, all previous emperors have been diligent in learning the history and culture of the Han nationality in order to learn the ruling experience from them.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:18, 13 October 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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汉书翻译基于特定的历史情境，和国家的长治久安，将重点放在经、史、子、集等汉族文化精粹及典章制度之上，为统治者探求、调整统治策略与统治理论提供了契机。特别是康、雍、乾三朝年间，民族交往日益频密，民族关系逐渐缓和，民族融合渐趋提高，汉书的翻译与进讲更为诸帝所重。由于统治者皆以德教学术为治国之本，力崇道德教化、为国修政、忠于人君，汉书翻译遂被赋予德治与教化功能。&lt;br /&gt;
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The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunity for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent, ethnic relations gradually eased and ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:03, 13 October 2021 (UTC)&lt;br /&gt;
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The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunities for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent; ethnic relations gradually eased; ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 10:20, 13 October 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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总之，清初的汉书翻译既非简单的“以夏变夷”，也非简单的“以夷变夏”，而是在翻译中着眼于满、汉之间的交流、沟通与互鉴，政治意涵与文化意涵并存。*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”②湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。&lt;br /&gt;
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In summary, the translation of The History of the Han Dynasty is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. The translation highlights the communication and mutual learning between Man minority and Han nationality. It also emphasizes the coexistence of political implications and culture implications. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences &amp;quot; The Research on Translation Policy During Early and Middle Qing Dynasty&amp;quot; ② Research Foundation of Social Sciences of Hunan Province, China&amp;quot; The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty&amp;quot; , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China&amp;quot;, Grant No.20A222.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:29, 13 October 2021 (UTC)&lt;br /&gt;
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In summary, the translation of Han History is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. It highlights the communication and the mutual learning between Man minority and Han nationality and emphasizes the coexistence of political implications and culture implications in its translation. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences &amp;quot; The Research on Translation Policy During Early and Middle Qing Dynasty&amp;quot; ② Research Foundation of Social Sciences of Hunan Province, China&amp;quot; The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty&amp;quot; , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China&amp;quot;, Grant No.20A222.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:53, 13 October 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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清初的旗学教育与翻译人才培养：教材、课业与考课&lt;br /&gt;
——基于绥远城官学的考察*&lt;br /&gt;
摘要：旗学之兴系清初统治者重教政策的延续与发展。太祖和太宗年间，虽然旗学尚未创设，但文教与翻译之风渐行，以讲解汉籍译本作为教育旗人的手段由来已久，为嗣后设立旗学，开展旗学教育创造了条件。&lt;br /&gt;
The Education of Banner studies and the training of translation talents in the early Qing Dynasty: textbooks, courses and examinations-based on the investigation of Suiyuan authority.&lt;br /&gt;
Abstract: The prosperity of Banner studies reflects the continuation and development of the educational policy that the rulers attached importance to in the early Qing dynasty.&lt;br /&gt;
During the reign of Emperor Taegu and Emperor Taejon, although the Banner studies had not yet been established, the cultural education and translation became popular. It has been a long time that the translation of Chinese books was used as a means to educate flag-bearers, which created conditions for the establishment of Banner studies’ education.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 13 October 2021 (UTC)&lt;br /&gt;
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The Banner Education and the Cultivation of Translation Specialist in the Early Qing Dynasty: Teaching Materials, Homework and Examination -- Based on the Investigation of suiyuan City Official Schools&lt;br /&gt;
Abstract: The rise of the banner schools was the continuation and development of the policy of emphasizing education of rulers in the early Qing Dynasty. During the reign of Emperor Taizu and Emperor Taizong, although the banner school was not yet established, culture, education and translation gradually spread, and interpreting the translation of Chinese books as a means of teaching the banner people had a long history, which created conditions for the establishment of banner school and the development of banner education.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:46, 13 October 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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自顺治朝设立国子监八旗官学，至康熙朝增设专门教育机构，雍正朝普及八旗教育，以及乾隆朝以后八旗教育由盛转衰，清初的旗学教育不仅提高了旗人的文化素质和官员处理政务的能力，而且提升了旗人的语言能力，培养了大量翻译专才。从一开始，旗学教育便明确地指向了翻译，不仅严格要求翻译教习的选拔与任用，而且也对翻译教材的使用、翻译课业的形式、翻译考课的等次，以及教习与学生的期满考核等，制定了具体章程。&lt;br /&gt;
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From the establishment of the Eight Banners official school of the Imperial Academy in the reign of Shunzhi to the establishment of special educational institutions in the reign of Kangxi, the popularization of the Eight Banners Education in the reign of Yongzheng, and the decline of the Eight Banners Education after the the reign of Qianlong, in the early Qing Dynasty, the Banners' education not only improved the cultural quality of the Banner people and the ability of officials to deal with government affairs, but also enhanced the language ability of the Banner people and cultivated a large number of translation specialists. From the very beginning, the purpose of the Banners' education is for translation, which not only strictly requires the selection and appointment of translation teachers, but also formulates specific regulations on the use of translation teaching textbooks, the form of translation homework, the order of translation examination, as well as the expiration assessment of teachers and students.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 15:13, 16 October 2021 (UTC)&lt;br /&gt;
From the Shunzhi Dynasty to the establishment of the Eight Banners official school to the establishment of special educational institutions of the Kangxi dynasty, the popularization of the Eight Banners education in the Yongzheng dynasty to the decline of the Baqi education after the Qianlong dynasty, the ability of government affairs has also improved the language ability of people, and cultivated a large number of translation professionals. From the very beginning, The education of &amp;quot;banners&amp;quot; studies has clearly pointed to translation. It not only strictly requires the selection and appointment of translation teaching, but also the use of translation materials, the form of translation tasks, the order of translation exams, and the duration of teaching and students. Full assessment, formulated specific regulations.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:58, 16 October 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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总之，旗学教育既维护了满洲特色，又增进了民族交流，为解决国家治理对于翻译人才的需求做出了重要贡献。&lt;br /&gt;
关键词：旗学  翻译教育  教材  课业与考课  绥远城官学&lt;br /&gt;
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清代的旗学教育始于顺治朝，但追根溯源与太祖朝以来的语言创制与教育密不可分。后金政权建立之前，女真族没有自己的文字，民间交往和官方往来只能通过蒙古语及其翻译进行。&lt;br /&gt;
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In short, the education of &amp;quot;qi&amp;quot; studies not only maintains Manchurian characteristics, but also enhances national exchanges, and has made important contributions to solve the needs of national governance for translators.&lt;br /&gt;
Key words: &amp;quot;qi&amp;quot; Studies, Translation Education, Textbooks, Assignments and Tests, Suiyuan City Official School&lt;br /&gt;
The education of &amp;quot;qi&amp;quot; studies in the Qing Dynasty began in the Shunzhi Dynasty, but the tracing of its roots is inseparable from the language creation and education since the Taizu Dynasty. Before the establishment of the Houjin regime, the Jurchens did not have their own scripts, and non-governmental and official exchanges could only be carried out through Mongolian language and its translation.&lt;br /&gt;
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In a word, the Banners education not only maintains the characteristics of Manchuria, but also promotes the cultural exchanges between nations, making important contributions to solving the needs of national governance for translation talents. &lt;br /&gt;
Key words: the Banner education, translation educational, textbook,coursework and examination,Suiyuan City official School&lt;br /&gt;
The education of  the Banners education in Qing Dynasty began in shunzhi Dynasty, but its origin is closely related to language creation and education since Nurhachi period. Before the establishment of the post-Jin regime, the Nuzhen people did not have their own script, and the folk and official communication could only be carried out through the Mongolian language and its translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 10:39, 16 October 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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太祖创建后金政权伊始，便授意“巴克什”额尔德尼、噶盖等创建“无圈点满文”（老满文）。老满文的创建既方便了部民交流和公文书写，也使得政事记载和汉书翻译变得容易。在翻译的汉文典籍帮助下，如《论语》、《孟子》、《史记》和《资治通鉴》等，太祖得以学习汉族的思想精粹和政治观念。&lt;br /&gt;
After the first emperor of the Qing Dynasty founded the jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han books. In the process of translating Chinese classics, such as ''The Analects of Confucius'', ''Mencius'', ''Records of the Historia''n and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han people.&lt;br /&gt;
--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:29, 12 October 2021 (UTC)&lt;br /&gt;
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After the first emperor of the Qing Dynasty founded the Post-Jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han Shu. With the help of translating Chinese classics, such as ''The Analects of Confucius'', ''The Works of Mencius'', ''Historical records'',and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han nationality.&lt;br /&gt;
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--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 08:48, 13 October 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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与此同时，太祖又令“颁经书以宏文教”，“尚骑射翻译以重国文”，通过“国文”、“骑射”巩固所谓民族之“本”，并通过“文教”、“翻译”提升旗人素质。[ 张廷玉等奉敕撰：《皇朝文献通考》，上海：鸿宝书局，1902年，第5435页。]语言创制的完成不仅使得旗人教育成为现实，也使得统治者试图在翻译中汲取汉族经验成为可能。&lt;br /&gt;
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At the same time, Taizu ordered to &amp;quot;publish scriptures to carry forward cultural education&amp;quot;, &amp;quot;advocate riding and shooting translation to attach importance to national language&amp;quot;, consolidate the so-called &amp;quot;foundation&amp;quot; of the nation through &amp;quot;national language&amp;quot; and &amp;quot;riding and shooting&amp;quot;and improve the quality of Manchurian through &amp;quot;cultural education&amp;quot; and &amp;quot;translation&amp;quot;. [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.&lt;br /&gt;
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At the same time, Taizu ordered to &amp;quot;publish scriptures to carry forward cultural education&amp;quot;, &amp;quot;advocate riding and shooting translation to attach importance to national literature&amp;quot;, consolidate the so-called &amp;quot;foundation&amp;quot; of the nation through &amp;quot;national&lt;br /&gt;
literature＂ and &amp;quot;riding and shooting&amp;quot;, and improve the quality of Manchurian through &amp;quot;cultural education&amp;quot; and &amp;quot;translation&amp;quot;. [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:14, 16 October 2021 (UTC)--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:15, 16 October 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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《满文老档》中说，太祖曾命博布黑、萨哈廉等八人为八旗师傅，赐其“巴克什”称号，令其精心教习八旗子弟，要求“教之通晓者赏之”，而“弟子不勤学不通晓书文者罪之”，开启旗人教育之先例。[ 中国第一历史档案馆译注：《满文老档》，北京：中华书局，1990年，第1196-1197页。]太宗期间，旗人的学习和教育亦受重视。&lt;br /&gt;
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According to the 《Manchu script》, the emperor Taizu once appointed eight people, including Bo buhei and sahalian, as masters of the eight banners, and gave them the title of &amp;quot;Baksh&amp;quot;, so that they could carefully teach the children of the eight banners, and asked that&amp;quot;&amp;quot;If teach the disciples to understand, they will be rewarded&amp;quot;, while &amp;quot;If the disciples don't study hard and don't understand calligraphy, they will be punished&amp;quot; which opening a precedent for Manchu's education. [translated note of China's first historical archives: old 《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] during the reign of Emperor Taizong, the study and education of Manchu were also valued.&lt;br /&gt;
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According to Manchu Script, the Emperor Taizu( the first emperor of the Qing Dynasty) once appointed 8 person as teachers of the Eight Banners and rewarded them with the title of Baksh, including Bobuhei, Sahalian. The teachers were required to teach the offspring of the eight-banners. If they can understand, they will be rewarded while if not, they will be punished, which stands a precedent for Manchu's education.[Quoted from China's first historical archives:《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] During the reign of Emperor Taizong, the study and education of Manchu were also valued.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:33, 13 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Mascara Jade Forest as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons: make his parents feel warm in winter and cool in summer, serve them to go to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest,having come along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum. Ms. Li had originally been the wife of Bead Merchant.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 05:01, 31 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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Although Mascara Jade was just living here as a guest, these couins and sisters-in-law accompanied her that she had nothing to scruple, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a a case of manslaughter on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury and causing one’s death. He then took the plaintiff to trial. &lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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The plaintiff said: &amp;quot;The man killed was my master. He bought a girl that day but unexpectedly she had been stolen by that human trader, who got my master's money. My master thought the next day was a good day then married her;&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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&amp;quot;You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family.  It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!”  --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?&amp;quot;Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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Djia Yu-tsun bowed his head for half a day before saying, &amp;quot;What do you think?&amp;quot; Mencius said, &amp;quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died as he was pursued by Feng Yuan's soul. The disaster was caused by the trickster so he would be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:17, 31 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Rain village family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 20212^0081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the managers and employees of the Purveyor's offices in different provinces, perceiving how youthful and inexperienced Dragon Marshgrass was， readily availed themselves of the opportunity to begin swindling. As a result, The business carried on in several different places in the capital gradually began to fall off.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:45, 31 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity to realize his dream. There are three pretexts. First, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. His real reason, of course, was to see the scenery of the capital. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 31 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity, firstly, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. But his real reason, of course, was to admire the scenery of the capital.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:54, 31 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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Therefore, Dragon Marshgrass had already checked his luggage and jewelry and prepared the local specialty and gifts for his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine but the family Feng robbed  him of Pity Zhen,then he ordered a slave to kill Feng Yuan.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:57, 31 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to be the leader of another province, it's very common for the household to be bustling about. Wouldn't it be inconsiderate if we all come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's house.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:47, 31 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean:--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:20, 31 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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It is not so convenient to live with your uncle and aunt:you'd better live with your own. If you want to do this, go to choose a house: having been apart for several years with your aunt and sisters, I want to be with them for a few days with your sisters. How do you like that?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:19, 31 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，Dragon Marshgrass has been acquainted with hallf of the sons and nephews in the Jia family. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Dragon Marshgrass, who is seduced, is ten times worse than that day. Although Pardon Merchant is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Treasure merchant, and he is the eldest grandson of the Ningguo Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=135071</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=135071"/>
		<updated>2021-12-31T06:57:45Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Mascara Jade Forest as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons: make his parents feel warm in winter and cool in summer, serve them to go to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest,having come along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum. Ms. Li had originally been the wife of Bead Merchant.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 05:01, 31 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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Although Mascara Jade was just living here as a guest, these couins and sisters-in-law accompanied her that she had nothing to scruple, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a a case of manslaughter on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury and causing one’s death. He then took the plaintiff to trial. &lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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The plaintiff said: &amp;quot;The man killed was my master. He bought a girl that day but unexpectedly she had been stolen by that human trader, who got my master's money. My master thought the next day was a good day then married her;&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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&amp;quot;You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family.  It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!”  --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?&amp;quot;Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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Djia Yu-tsun bowed his head for half a day before saying, &amp;quot;What do you think?&amp;quot; Mencius said, &amp;quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died as he was pursued by Feng Yuan's soul. The disaster was caused by the trickster so he would be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:17, 31 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Rain village family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 20212^0081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the managers and employees of the Purveyor's offices in different provinces, perceiving how youthful and inexperienced Dragon Marshgrass was， readily availed themselves of the opportunity to begin swindling. As a result, The business carried on in several different places in the capital gradually began to fall off.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:45, 31 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity to realize his dream. There are three pretexts. First, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. His real reason, of course, was to see the scenery of the capital. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 31 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity, firstly, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. But his real reason, of course, was to admire the scenery of the capital.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:54, 31 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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Therefore, Dragon Marshgrass had already checked his luggage and jewelry and prepared the local specialty and gifts for his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine but the family Feng robbed  him of Pity Zhen,then he ordered a slave to kill Feng Yuan.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:57, 31 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to be the leader of another province, it's very common for the household to be bustling about. Wouldn't it be inconsiderate if we all come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's house.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:47, 31 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean:--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:20, 31 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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It is not so convenient to live with your uncle and aunt:you'd better live with your own. If you want to do this, go to choose a house: having been apart for several years with your aunt and sisters, I want to be with them for a few days with your sisters. How do you like that?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:19, 31 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，Dragon Marshgrass has been acquainted with hallf of the sons and nephews in the Jia family. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Dragon Marshgrass, who is seduced, is ten times worse than that day. Although Pardon Merchant is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Treasure merchant, and he is the eldest grandson of the Ningguo Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134358</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134358"/>
		<updated>2021-12-26T12:31:31Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.&lt;br /&gt;
&lt;br /&gt;
Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134357</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134357"/>
		<updated>2021-12-26T12:24:45Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:24, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
&lt;br /&gt;
==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.&lt;br /&gt;
&lt;br /&gt;
Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134349</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134349"/>
		<updated>2021-12-26T11:45:07Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
&lt;br /&gt;
She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
&lt;br /&gt;
宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
&lt;br /&gt;
Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
&lt;br /&gt;
Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
&lt;br /&gt;
‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
&lt;br /&gt;
'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
&lt;br /&gt;
Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134328</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134328"/>
		<updated>2021-12-26T11:18:34Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨堃 Yáng Kūn 法语语言文学 女 202120081542 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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&lt;br /&gt;
Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
&lt;br /&gt;
In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
&lt;br /&gt;
Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
&lt;br /&gt;
However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
&lt;br /&gt;
The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=133677</id>
		<title>Trans Type EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=133677"/>
		<updated>2021-12-16T01:49:38Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 6. Conclusion */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
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'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
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Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
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====1.2 Introduction of Romanticism====&lt;br /&gt;
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Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
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Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====2.1 &amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====2.1.1 Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====2.1.2 Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====2.1.3 Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====2.2 Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====2.2.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===3. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====3.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====3.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====3.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===4. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 5. Critical Thinking of Bian Zhilin's Translation Theories */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====2.1 &amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1.1 Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====2.1.2 Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====2.1.3 Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====2.2 Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====2.2.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====2.2.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===3. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====3.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====3.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====3.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
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Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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===4. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
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Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
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Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
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===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
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===References===&lt;br /&gt;
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Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
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Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
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Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
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Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
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Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 4. Analyses of Bian Zhilin's Translation Practice */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====2.1 &amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1.1 Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====2.1.2 Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====2.1.3 Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====2.2 Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====2.2.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===3. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====3.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====3.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====3.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 2. Bian Zhilin's Literary Translation Theories */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====2.1 &amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1.1 Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====2.1.2 Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====2.1.3 Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====2.2 Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====2.2.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
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Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
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====1.2 Introduction of Romanticism====&lt;br /&gt;
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Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
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Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===7. References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
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Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
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Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
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Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
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===6. Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===6. References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===6. References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''. 北京 Peking：中国工人出版社 Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===6. References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to 'the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:39, 16 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
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'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===1. Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
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Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
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Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===2. Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====2.1 Faithfulness=====&lt;br /&gt;
======2.1.1 Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======2.1.2 Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness, expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======2.1.3 Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====2.2 Similarity=====&lt;br /&gt;
======2.2.1 Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======2.2.2 Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======2.2.3 Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====2.3 Translation=====&lt;br /&gt;
======2.3.1 Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======2.3.2 Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======2.3.3 Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====3. Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====3.1 Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====3.2 Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===4. Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====4.1 William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====4.2 William Wordsworth's ''The 'Lucy' Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
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&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====4.3 Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===5. Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===6. References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽 Anhui：安徽教育出版社 Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京 Peking：中国对外翻译出版公司 Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of 'Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京 Peking：商务印书馆 The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Written by----[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 01:35, 16 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Introduction of Bian Zhilin and Romanticism */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===1.Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====1.1 Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 13:31, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<title>Translation types, strategies, styles, methods</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=Chapter 1: Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以《佛罗里达大沼泽公园》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5: Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of a Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
=Chpater 11 Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 12 Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Numan,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133651</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133651"/>
		<updated>2021-12-16T01:21:37Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 1: Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以《佛罗里达大沼泽公园》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5: Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of a Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Chpater 11 Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 12 Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Numan,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=132036</id>
		<title>Trans Type EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=132036"/>
		<updated>2021-12-13T13:31:49Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
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Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
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Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
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Written by--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 13:31, 13 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
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'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984:136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984:401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002:503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004:57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984:694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002:503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994:8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991:24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981:39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964:viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000:8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007:319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 13:27, 13 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection' to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》Edit.,Luo Xinzhang ''Collected Papers of Translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection'to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William(1971). Songs of Experience[M]. New York: Dover Publications, Inc..&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey(1979). William Wordsworth [M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir(1964). &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter(1981). Approaches to Translation. Oxford: Pergamon.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From‘the West Window Collection'to‘the West Window Small Book'''.北京：中国工人出版社. Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''.北京：商务印书馆. Beijing: The Commercial Press.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
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Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
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Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
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Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）''Bian Zhilin's Collected Works'' (Middle volume). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）''Bian Zhilin's Collected Works'' (First volume). 安徽：安徽教育出版社. Anhui: Anhui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》''From ‘the West Window Collection' to ‘the West Window Small Book'''.北京：中国工人出版社.Beijing: Chinese Workers Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）''Man and Poems: Recollect the Past Days and Talking About the New Days''(Revised Book). 安徽：安徽教育出版社. Anhui: AnHui Education Press.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》''Selected English Poems''.北京：商务印书馆.Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》.''On Translation'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆.Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》.''On Literary Translation Books'' 罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''. 北京：商务印书馆.Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》''Non-literary Translation Theories and Practice''. 北京：中国对外翻译出版公司. Beijing: Chinese Translation and Publication Corporation.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》''On Faithfulness, Expressiveness and Elegance: A Study of Yan Fu's Translation Theory''. 北京：商务印书馆.Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》''A brief history of Western translation''.北京：商务印书馆.Beijing: The Commercial Press.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》''Introduction to Translation of‘Evolution and Ethics''' .罗新璋编《翻译论集》edited,Luo Xinzhang ''Collected Papers of Translation''.北京：商务印书馆.Beijing: The Commercial Press.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131870</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-13T12:32:52Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. &amp;quot;Tourism has become a rising sunrise industry in modern society.&amp;quot; To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline. (Jin Huikang, 2007)&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
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====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, &amp;quot;more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation.&amp;quot; This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts. (Li Daosheng, 2000)&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness. (https://www.nps.gov/ever/planyourvisit/conditions.htm, July 3, 2020)&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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&amp;quot;According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function.&amp;quot; Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts. (Hou Yingying, 2020)&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
=====Conversion of part of speech=====&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
=====Public signs=====&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
=====Change of subjects and passive voice=====&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
=====Punctuation=====&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
He Xueyun 贺学耘 (2006). 汉英公示语翻译的现状及其交际翻译策略[J] Current Situation and Communicative Translation Strategy of Chinese-English Public Signs.外语与外语教学 Foreign Languages and Their Teaching, 3:57-59.&lt;br /&gt;
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Hou Yingying 侯莹莹 (2020). 凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J] A Comparative Study of Katharina Reiss's and Peter Newmark's Text Type Translation Theories.海外英语 Overseas English, 22:49-50+60. &lt;br /&gt;
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Liu Anhong 刘安洪 (2013). 跨文化交际视角下的旅游文本翻译策略研究[J] Research on Tourism Text Translation Strategies from the Perspective of Cross-Cultural Communication.中华文化论坛 Forum on Chinese culture, 10:160-163. &lt;br /&gt;
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Ma Chen 马忱 (2010). 交际翻译策略对汉英旅游翻译的启示[J] The Implications of Communicative Translation strategies for Chinese-English tourism Translation.郑州航空工业管理学院学报(社会科学版) Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition), 29(06):119-121.&lt;br /&gt;
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Newmark, Peter (2001). Approaches to translation[M]. Shanghai: Shanghai Foreign Language Education Press, 45-46. &lt;br /&gt;
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Newmark, Peter (2001). A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 39-42. &lt;br /&gt;
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'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
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[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
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[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
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[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
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[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
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[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
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[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
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[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
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[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=131840</id>
		<title>Trans Type EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_10&amp;diff=131840"/>
		<updated>2021-12-13T12:22:54Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
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Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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===Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
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Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
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Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 3 Analyses of Bian Zhilin's Translation Practice */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
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		<title>Trans Type EN 10</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems As Examples */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translations of Romantic Poems As Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin's translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang,1984,136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang,1984,401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin,2002,503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan,2004,57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang,1984,694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin,2002,503).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin,1994,8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi,1991,24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark,1981,39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov,1964,viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin,2000,8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin,2007,319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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		<title>Trans Type EN 10</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* Abstract */&lt;/p&gt;
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&lt;div&gt;=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems As Examples=&lt;br /&gt;
'''卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
Yang Liuqing杨柳青, Human Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
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Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
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		<title>Translation types, strategies, styles, methods</title>
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		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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=====Conversion of part of speech=====&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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=====Public signs=====&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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=====Change of subjects and passive voice=====&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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=====Punctuation=====&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
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[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
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[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
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[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
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[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
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[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
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[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
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Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
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==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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====Imitation====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131696</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131696"/>
		<updated>2021-12-13T11:27:27Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
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Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
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Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 5&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 6&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
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====Addition====&lt;br /&gt;
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Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
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Example 7&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
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Example 8&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
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====Free translation====&lt;br /&gt;
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Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
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American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
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Example 10:&lt;br /&gt;
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Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
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American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
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　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
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In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
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In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
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In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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=====Conversion of part of speech=====&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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=====Public signs=====&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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=====Change of subjects and passive voice=====&lt;br /&gt;
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Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
=====Punctuation=====&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
&lt;br /&gt;
[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
&lt;br /&gt;
[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Keywords==&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Emergence and Development of Communicative Translation===&lt;br /&gt;
&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Conversion====&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
====Extension====&lt;br /&gt;
&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Interpretation Method====&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
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[[Correction of Conclusion:]] &lt;br /&gt;
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This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
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To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
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However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
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[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
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[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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==摘要==&lt;br /&gt;
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散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
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==关键词==&lt;br /&gt;
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《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
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Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
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==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
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The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
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===Limitations and Suggestions===&lt;br /&gt;
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There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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==Appendix==&lt;br /&gt;
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(The original text:)&lt;br /&gt;
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The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
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It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
[[Trans_Types_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&amp;diff=131683</id>
		<title>Introduction to Translation Studies 2021</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&amp;diff=131683"/>
		<updated>2021-12-13T11:23:44Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* Final exam class projects */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|This course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] &lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''Deadline Dec 9, 2021 [[20220112_final_exam|final exam page]] - final deadline after correction: Dec 15, 2021'''&amp;lt;/span&amp;gt;&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Welcome to our course website '''Introduction to Translation Studies 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is mostly welcome!&lt;br /&gt;
&lt;br /&gt;
欢迎访问我们“翻译导论课”的网页。…………&lt;br /&gt;
&lt;br /&gt;
=Session 1 Sep 26, 2021=&lt;br /&gt;
Today is international day of languages!&lt;br /&gt;
&lt;br /&gt;
Introduction to the course. Organizational things. Working with the Wiki.&lt;br /&gt;
==Organizational Things==&lt;br /&gt;
*Please register for the Course Wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. If the name is taken, write &amp;quot;Wang Jianguo1&amp;quot;. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TransStud and edit the contents. You need to edit the course website every week to prepare the upcoming session. &lt;br /&gt;
*Please prepare each session during the week before, so that you come prepared to class.&lt;br /&gt;
*In the WeChat group, please write your name as &amp;quot;Wang Jianguo 王建国 21级 英语口译&amp;quot;. If possible, please use a profile photo of yourself where you can be recognized. 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、21级、方向）就好。&lt;br /&gt;
*We meet Wednesdays 7 pm - 8:40 pm online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). Please leave your camera ON, so that we actually see each other. In the classroom, we also see each other.&lt;br /&gt;
*Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.&lt;br /&gt;
* Please take the weekly survey http://bit.ly/EU-SURVEY&lt;br /&gt;
* Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.&lt;br /&gt;
&lt;br /&gt;
==Edits==&lt;br /&gt;
Every student is required to edit something every week. This can be:&lt;br /&gt;
* Translate any English paragraph on this website from English to Chinese.&lt;br /&gt;
* Correct an earlier translation of your fellow student beneath.&lt;br /&gt;
* Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.&lt;br /&gt;
* Prepare the final exam paper as early as possible by writing a chapter for a book on &amp;quot;History of Translations&amp;quot;, &amp;quot;History of Translation Theories&amp;quot;, &amp;quot;Machine translation - A challenge or a chance for human translators?&amp;quot;, &amp;quot;Culture loaded words&amp;quot;, &amp;quot;The cultural turn in Translation History&amp;quot;, &amp;quot;Appropriateness Theory&amp;quot; ... For this, please organize yourself, find groups who want to write the same book together, and think together about the necessary chapters and the structure etc. of the book. The paper needs to be delivered until November 1. Then we jointly work on copy editing, grading etc.&lt;br /&gt;
* The Teaching Assistants should write the grades every week in a table, so that you can see the results of your quizzes/surveys etc., your performance in class and final exam paper grades.&lt;br /&gt;
&lt;br /&gt;
==Topics, Sessions and Material==&lt;br /&gt;
&lt;br /&gt;
'''Which paper or book should I read to prepare my presentation?'''&lt;br /&gt;
&lt;br /&gt;
Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.&lt;br /&gt;
&lt;br /&gt;
1 Sep 26 Introduction	&lt;br /&gt;
&lt;br /&gt;
2 Sep 29 Emergence I&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
&lt;br /&gt;
3 Oct 13 Emergence II&lt;br /&gt;
*3a Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社2009:195 pp., here 180-192.&lt;br /&gt;
*3b=7c Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017, here the beginning about the emergence&lt;br /&gt;
&lt;br /&gt;
4 Oct 20 History of Translation &lt;br /&gt;
*4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.&lt;br /&gt;
*4b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.&lt;br /&gt;
&lt;br /&gt;
5 Oct 27 Early understanding&lt;br /&gt;
&lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.&lt;br /&gt;
	&lt;br /&gt;
*5a Holmes, James.  1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam:  Rodopi, 1988: 67-80.&lt;br /&gt;
*5b Sourcebook	Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.&lt;br /&gt;
*5c Textbook	Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.&lt;br /&gt;
*5d Translation Basics	刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.&lt;br /&gt;
&lt;br /&gt;
6 Nov 3 Linguistics and Equivalence (Nida)&lt;br /&gt;
*6a Early linguistic theory	Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.&lt;br /&gt;
*6b Early important understanding	Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.&lt;br /&gt;
&lt;br /&gt;
7 Nov 10 Translation Studies&lt;br /&gt;
*7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. &lt;br /&gt;
*7b Translation Studies	许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.&lt;br /&gt;
*7c=3b Tan Zaixi 谭载喜. Translation Studies 翻译学[M]. 武汉：湖北教育出版社，2000年. (the 2nd part contains a lot of English papers)&lt;br /&gt;
*7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002&lt;br /&gt;
&lt;br /&gt;
8 Nov 17 Translation Theories&lt;br /&gt;
*8a Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.&lt;br /&gt;
*8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.&lt;br /&gt;
*8c Contemp. West. theories	廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.&lt;br /&gt;
*8d  Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*8e Pan_Wenguo_Cont_West_Trans_Stud_当代西方的翻译学研究_兼谈_翻译学的学科性问题_潘文国&lt;br /&gt;
&lt;br /&gt;
9 Nov 24 History of Chinese Translation Theories&lt;br /&gt;
*9a 陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.&lt;br /&gt;
*9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.&lt;br /&gt;
&lt;br /&gt;
10 Dec 1 Appropriateness Theory&lt;br /&gt;
*10a Moratto, Woesler: Current Dynamics, Springer 2021&lt;br /&gt;
&lt;br /&gt;
11 Dec 8 Methods and Style&lt;br /&gt;
*11a Methods	Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.&lt;br /&gt;
*11b Style	刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.&lt;br /&gt;
*11c Trans_Stud_Problems_and_Methods_翻译学问题与方法&lt;br /&gt;
&lt;br /&gt;
12 Dec 15 Theory and Practice	&lt;br /&gt;
*12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.&lt;br /&gt;
*12b Theory and Practice	Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.&lt;br /&gt;
*12c Theory and Practice	Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.&lt;br /&gt;
&lt;br /&gt;
13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism&lt;br /&gt;
*13a “descriptive”	Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia:  John BenjaminB Publishing company, 1995.&lt;br /&gt;
*13b Culture	Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.&lt;br /&gt;
*13c Invisibility	Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
*13d Constructivism Research	易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.&lt;br /&gt;
*13e Art or Science? Different papers by Huang Zhending Trans_Stud_Art_and_Scient_Theory_翻译学艺术论与科学论的统一&lt;br /&gt;
&lt;br /&gt;
14 Dec 29 East-West Comparison&lt;br /&gt;
*14a East-West comparison	刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.&lt;br /&gt;
*14b English-Chinese TS	蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.&lt;br /&gt;
&lt;br /&gt;
15 Jan 5 Review in Preparation of final exam&lt;br /&gt;
&lt;br /&gt;
16 Jan 12 Final Exam&lt;br /&gt;
&lt;br /&gt;
Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, Susan. Translation studies. Routledge, 2013&lt;br /&gt;
*Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 &lt;br /&gt;
*Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.&lt;br /&gt;
*Chen, Fukang. &amp;quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&amp;quot; (1992).&lt;br /&gt;
*Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.&lt;br /&gt;
*Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.&lt;br /&gt;
*Huang, Chending黄振定. &amp;quot;文学翻译评价的科学性及其科学论.&amp;quot; 外国语 4 (1999): 49-56.&lt;br /&gt;
*Huang, Chending 黄振定. &amp;quot;翻译学是一门人文科学.&amp;quot; 外语与外语教学 2 (1999): 33-35.&lt;br /&gt;
*Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008&lt;br /&gt;
*Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.&lt;br /&gt;
*Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013&lt;br /&gt;
*Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.&lt;br /&gt;
*Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.&lt;br /&gt;
*Pan Wenguo 潘文国. &amp;quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&amp;quot; 中国翻译 23.1 (2002): 31-34.&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
*Toury, Gideon. &amp;quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&amp;quot; Amsterdam/Philadelphia (1995).&lt;br /&gt;
*Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.&lt;br /&gt;
*Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Zhao, Wei 赵巍. &amp;quot;翻译学学科性质与研究方法反思.&amp;quot; 解放军外国语学院学报 28.6 (2005): 69-72.&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
==Final exam class projects==&lt;br /&gt;
&lt;br /&gt;
Please help to edit one of the following book publications (please write your name behind the topics and organize the book with a proposal for the press and a chapter in the form of a journal paper by each participant):&lt;br /&gt;
*[[History of Translation Studies]] (Sample from last year.)&lt;br /&gt;
*[[History of Translations]] &lt;br /&gt;
Rouabah Soumaya( History of translation in the Middle Ages) 李习长 (History of Modern and Contemporary Chinese Translation) 黄柱梁（The Translation of Buddihist Sutra in China） 王镇隆 叶维杰 李雯( The Translation theory after the establishment of the People's Republic of China)李怡(Modern Western Translation History) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Contemporary American Translation History)  周俊辉 周玖 钟雨露 钟义菲 魏楚璇(western translation history in the modern and contemporary Age)&lt;br /&gt;
*[[History of Translation Theories]] 李瑞洋（Development of Translation Theories in Modern China）、陈心怡 张扬、曾俊霖 张怡然(History of Translation Theories from early Russia to the Soviet Union) 尹媛（The Brief Introduction of American structural school of translation theory) 李双 杨堃 刘运心 魏兆妍(The Development of Humanism Trend in Western Translation Theory) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江&lt;br /&gt;
*[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯 肖毅瑶 王李菲 徐敏赟 颜莉莉 颜静 谢佳芬 熊敏 陈惠妮 蔡珠凤 陈湘琼 Nadia&lt;br /&gt;
*[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳、罗曦（The translation methods of culture loaded words） 何芩、孙雅诗、杜莉娜（跨文化交际视角下旅游文本中文化负载词的英汉翻译研究）、宫博雅（俄语成语中文化负载词的中文翻译分析）、周小雪(《药》英日译本中文化负载词的翻译对比研究）、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看许渊冲版《鹊桥仙》中文化负载词的翻译)、高蜜、殷慧珍、程杨、胡舒情&lt;br /&gt;
*[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍&lt;br /&gt;
*[[Appropriateness Theory]] - Ei Mon Kyaw (Creating Appropriateness Theory). I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!Ei Mon Kyaw (Creating Appropriateness Theory). 殷美达 易扬帆（Appropriateness in Lyrics Translation -- A Case Study of Lana Del Rey's Lyrics Translation in QQ Music）&lt;br /&gt;
*[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译技巧的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越 毛雅文 毛优（俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例 彭瑞雪 秦建安（功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例） 颜子涵  邝艳丽 阳佳颖 杨柳青（卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例）Atta Ur Rahman、Zohaib Chand、Muhammad Numan、Muhammad Saqib Mehran 刘胜楠（浅析目的论视角下《哪吒之魔童降世》字幕翻译策略）&lt;br /&gt;
*[[Aesthetic Appreciation of Literary Translations]]  朱素珍   邹岳丽 邱婷婷(Three beauties embodied in Xu Yuanchong's English translation of ''Tang Poetry'') 吴映红(A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics)&lt;br /&gt;
*[[Translation Theories Apllied to Literary Translations]]  周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &amp;quot;Jane Eyre&amp;quot; from the Perspective of Functional Equivalence Theory）&lt;br /&gt;
*[[Comparative Studies in Translation]] 石丽青 牟一心 饶金盈 罗安怡 马新 王逸凡 张秋怡 朱壬铎&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
==Schedule==&lt;br /&gt;
Please add your name, presentation form (ppt, handout) and subtopic here.&lt;br /&gt;
&lt;br /&gt;
'''All sessions''': &lt;br /&gt;
*1 Sep 26 Introduction&lt;br /&gt;
*2 Sep 29 Emergence I&lt;br /&gt;
*3 Oct 13 Emergence II &lt;br /&gt;
(中国翻译的起源 The Emergence of Translation Studies in China) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. &lt;br /&gt;
(机器翻译的起源与发展 The Origin of Machine Translation) ppt by Yan Jing 颜静 and handout by Xu Minyun 徐敏赟.&lt;br /&gt;
&lt;br /&gt;
*4 Oct 20 History of Translation &lt;br /&gt;
(中国翻译简史 The Brief History of Chinese Translation) ppt by Hu Shuqing 胡舒情 and handout by Gong Boya 宫博雅. &lt;br /&gt;
(西方翻译简史 The Brief History of Western Translation) ppt by Ding Xuan 丁旋 and handout by Fu Shiyu 付诗雨.&lt;br /&gt;
(中国译场中佛经翻译的历史 The History of Buddhist Scripture Translation in Chinese Translation Center) PPT by Ye Weijie 叶维杰 and handout by Wang Zhenlong 王镇隆. &lt;br /&gt;
(中国诗歌翻译简史 A Brief History of Chinese Poetry Translation) ppt by Rao Jinying 饶金盈 202120081520 and handout by Mou Yixin 牟一心.&lt;br /&gt;
(2000年以来的大中华文库翻译历史 The Translation History of Library of Chinese Classics Since 2000) ppt by Zhang Yang 张扬 and handout by Zeng Junlin曾俊霖.&lt;br /&gt;
&lt;br /&gt;
*5 Oct 27 Early understanding &lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.&lt;br /&gt;
(佛经翻译的文质之争 The Debates Between Wen and Zhi on Buddhist Scriptures Translation) ppt by He Qin 何芩 202120081489 and handout by Gao Mi高蜜.&lt;br /&gt;
(林语堂的翻译 Translation by Lin Yutang) ppt by  Xie Jiafen 谢佳芬 and handout by Yan Lili 颜莉莉.&lt;br /&gt;
&lt;br /&gt;
*6 Nov 3 Linguistics and Equivalence (Nida) &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;&lt;br /&gt;
(J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.&lt;br /&gt;
(Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.&lt;br /&gt;
(The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.&lt;br /&gt;
(Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.&lt;br /&gt;
&lt;br /&gt;
*6 Nov 10 Translation Studies&lt;br /&gt;
(Newmark)ppt by	李姗 and hanout by 李文璇.&lt;br /&gt;
(The name and nature of translation studies) ppt by 刘胜楠 and handout by 李怡.&lt;br /&gt;
(Jakobson's translation theory) ppt by 熊敏 and handout by 孙雅诗&lt;br /&gt;
() ppt by 肖毅瑶 and handout by 吴映红.&lt;br /&gt;
(On Lin Yutang's Translation Aesthetics) ppt by	罗安怡 and handout by 石丽青&lt;br /&gt;
() ppt by Mahzad Heydarian and hangdout by Mahzad Heydarian.&lt;br /&gt;
	&lt;br /&gt;
*8 Nov 17 Translation Theories &lt;br /&gt;
(Translation Theories of Peter Newmark)ppt by 刘晓 and handout by 刘越&lt;br /&gt;
(Translation Theories of George Steiner)ppt by 杨柳青  and handout by 殷慧珍&lt;br /&gt;
(严复翻译理论 Translation Theories of YanFu)	ppt by王李菲 and handout by 魏楚璇.&lt;br /&gt;
(The functional translation theory of Reiss and Vermeer)ppt by	彭瑞雪 and handout by 秦建安.&lt;br /&gt;
(Traslation Theoires of Xuyuanchong) ppt by 周清 and handout by 邹岳丽.&lt;br /&gt;
&lt;br /&gt;
*9 Nov 24 History of Chinese Translation Theories &lt;br /&gt;
(中国清代翻译理论史History of Chinese translation theories of Qing Dynasty)ppt by Cheng Yang 程杨 handout by Li Shuang 李双&lt;br /&gt;
(Theories after 1912) ppt by 邱婷婷 handout by	卫怡雯&lt;br /&gt;
(theory of modern China)ppt by 杨爱江 handout by 杨堃&lt;br /&gt;
(五四运动时期的翻译理论The Translation Theories During the Period of the May Fourth Movement)ppt by 李雯 handout by 周小雪&lt;br /&gt;
&lt;br /&gt;
*10 Dec 1 Appropriateness Theory - this is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.&lt;br /&gt;
&lt;br /&gt;
*11 Dec 8 Methods and Style&lt;br /&gt;
(增译与减译Addition and Omission) ppt by 周玖 and handout by	周俊辉&lt;br /&gt;
(Translation of idoms)	ppt by刘运心	and handout by李瑞洋&lt;br /&gt;
()ppt by李爱璇 and handout by金晓童&lt;br /&gt;
(翻译方法：直译与意译Translation methods---literal translation and free translation) ppt by 钟义菲 and handout by钟雨露&lt;br /&gt;
(翻译方法：异化和归化Translation methods: Foreignization and Domestication)ppt by 陈心怡 and handout by陈静&lt;br /&gt;
&lt;br /&gt;
*12 Dec 15 Theory and Practice. &lt;br /&gt;
(The value and limits of Nida's Functional Equivalence Theory in its Application of Literature)	ppt by 詹若萱 and handout by 罗曦&lt;br /&gt;
(Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by  朱素珍&lt;br /&gt;
(An Analysis of Different Versions on the Basis of the Three Beauties of Xu Yuanchong)	ppt by 邝艳丽 and handout by 付红岩&lt;br /&gt;
(庞德的翻译理论及其在《华夏集》中的应用 Ezra Pound's translation theory and its application in Cathay) handout by 张秋怡 and ppt by 王逸凡&lt;br /&gt;
() Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星&lt;br /&gt;
&lt;br /&gt;
*13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism&lt;br /&gt;
() ppt by 殷美达 and handout by 张怡然&lt;br /&gt;
&lt;br /&gt;
*14 Dec 29 East-West Comparison&lt;br /&gt;
()ppt by刘薇 and handout by黄柱梁&lt;br /&gt;
()ppt by魏兆妍	and handout by 吴婧悦&lt;br /&gt;
()ppt by阳佳颖 and handout by	颜子涵&lt;br /&gt;
(韦努蒂与鲁迅异化翻译策略之比较 A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy) ppt by毛优 and handout by 毛雅文&lt;br /&gt;
*15 Jan 5 Review in Preparation of final exam&lt;br /&gt;
*16 Jan 12 Final Exam&lt;br /&gt;
&lt;br /&gt;
== Homework from Session 1 Sep 26 due on Sep 29, 2021 ==&lt;br /&gt;
&lt;br /&gt;
1. Take the survey after session 1: http://bit.ly/EU-SURVEY&lt;br /&gt;
&lt;br /&gt;
2. Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2. (Will be added later.)&lt;br /&gt;
&lt;br /&gt;
3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
4. Help a fellow student to improve his/her translation on that page. The final translation is once more worked over by the teacher, please check your own sentence [[20210929_homework|here]].&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
5. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!&lt;br /&gt;
&lt;br /&gt;
===Homework for later===&lt;br /&gt;
4. Write a final exam paper as a chapter of the book &amp;quot;Translation Studies&amp;quot;, ... It has to be a topic, not yet chosen by any other student in the book. I will upload the book here later. You can participate in writing this book.&lt;br /&gt;
&lt;br /&gt;
5. Get familiar with the pdfs I send you on WeChat group as learning material.&lt;br /&gt;
&lt;br /&gt;
=Session 2, Sep 29: Emergence I=&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
*Survey http://bit.ly/Eval-01&lt;br /&gt;
*Please select a topic to do a ppt or handout on&lt;br /&gt;
*Review homework&lt;br /&gt;
*Prepare final exam&lt;br /&gt;
&lt;br /&gt;
===Homework for this session Sep 29===&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 2 (Emergence I)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==&lt;br /&gt;
*Teacher presentation:  [[Media:Emergence_I.pptx|Teacher presentation on the Emergence of Translation]] by Martin Woesler --[[User:Root|Root]] ([[User talk:Root|talk]]) 11:44, 13 October 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 13==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
4. Please write your name behind one of the [[Introduction_to_Translation_Studies_2021#Final_exam_class_projects|book projects]] where you want to write a chapter as your final exam paper. Also indicate the topic of your chapter in this book project.&lt;br /&gt;
&lt;br /&gt;
5. (Only for students who do presentation on Oct 13: Emergence II (中国新时期翻译研究发展的起源 The origin of translation studies in China in the new Era) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. (Emergence of Oral Interpretation) ppt by Shan Gongfei:) Prepare ppt or handout.(机器翻译的起源 The Origin of Machine Translation) handout by Xu Minyun 徐敏赟 202120081535 and powerpoint by Yan Jing 颜静 202120081536.&lt;br /&gt;
&lt;br /&gt;
=Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=&lt;br /&gt;
==Homework for this session Oct 13==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations in Session 3, Emergence of Translation II==&lt;br /&gt;
&lt;br /&gt;
*ppt:  [[Media:03 Emergence of translations in China by Xie Qinglin.pptx|Presentation on Emergence of translation study in China 中国翻译的起源]] by Chen Xiangqiong 陈湘琼; handout [[Media:03_Xie_Qinglin_Emergence_of_translations_in_China.docx|Emergence of translation studies in China]]  by Xie Qinglin 谢庆琳&lt;br /&gt;
&lt;br /&gt;
Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.&lt;br /&gt;
&lt;br /&gt;
*ppt:  [[Media:The_Origin_of_Machine_Translation_by_Yan_Jing.pptx|Presentation on Origin of Machine Translation 机器翻译的起源与发展]] by Yan Jing 颜静; handout [[Media:The_Origin_of_Machine_Translation_by_Xu_Minyun.docx|Origin of Machine Translation handout]] by Xu Minyun 徐敏赟&lt;br /&gt;
&lt;br /&gt;
Tip: This topic is also very modern, it should be presented at the end of the semester.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 20==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211020_homework|homework of session 3 for session 4 Oct 20]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 4, Oct 20, Topic 3=&lt;br /&gt;
==Homework for this session Oct 20==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 4&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211020_homework|homework of session 3 for session 4 Oct 20]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations on History of Translation, session 4==&lt;br /&gt;
* ppt:  [[Media: The brief history of western translation_by_Ding_Xuan.pptx|Presentation on The brief history of western translation]] by Ding Xuan; handout [[Media:The brief history of Western translation.doc| The brief history of western translation]] by Fu Shiyu&lt;br /&gt;
*ppt:  [[Media: The brief history of Chinese translation.pptx|Presentation on The brief history of Chinese translation]] by Hu Shuqing; handout [[Media:The brief history of Chinese translation_by_Gong_Boya.doc| The brief history of Chinese translation]] by Gong Boya&lt;br /&gt;
* ppt:[[Media: A brief history of Chinese poetry translation.pptx|Presentation on A brief history of Chinese poetry translation]] by Rao Jinying; handout: [[Media: A brief history of Chinese poetry translation.doc| A brief history of Chinese poetry translation]] by Mou Yixin&lt;br /&gt;
* ppt:[[Media: The Translation history of Library of Chinese Classics  Since 2000.pptx|Presentation on The Translation history of Library of Chinese Classics Since 2000]] by Zhang Yang; handout: [[Media: The Translation history of Library of Chinese Classics Since 2000_by_Zeng_Junlin.doc| The Translation history of Library of Chinese Classics]] by Zeng Junlin&lt;br /&gt;
* ppt:[[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.pptx|Presentation on The History of Buddhist Scripture Translation in Chinese Translation Center]] by Ye Weijie; handout: [[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.docx| The History of Buddhist Scripture Translation in Chinese Translation Center]] by Wang Zhenlong&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 27==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 5&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211027_homework|homework of session 4 for session 5 Oct 27]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=&lt;br /&gt;
==Homework for this session Oct 27==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 5&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211027_homework|homework of session 4 for session 5 Oct 27]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Oct 27 on Early Understanding==&lt;br /&gt;
&lt;br /&gt;
* Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]&lt;br /&gt;
&lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions about principles, strategies etc.&lt;br /&gt;
&lt;br /&gt;
* ppt:   [[Media: Tranlation by Lin Yutang.pptx|Translation by Lin Yutang]] by Xie Jiafen; handout [[Media: Tranlation by Lin Yutang(handout).docx| Translation by Lin Yutang(handout)]] by Yan Lili&lt;br /&gt;
* ppt:  [[Media: The Debates Between Wen and Zhi on Buddhist Scriptures Translation.pptx|The Debates Between Wen and Zhi on Buddhist Scriptures Translation]] by He Qin; handout [[Media: The Wen-Zhi Debate in the history of sutra translation (handout).docx| The Wen-Zhi Debate in the History of Sutra Translation (handout)]] by Gao Mi&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 6, Nov 3==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 6&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211103_homework|homework of session 5 for session 6, Nov 3]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=&lt;br /&gt;
==Homework for this session Nov 3==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 6&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211103_homework|homework of session 5 for session 6 Nov 3]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 3 on Linguistics and Equivalence(Nida)==&lt;br /&gt;
&lt;br /&gt;
* ppt:  [[Media:J.C.Catford's Translation Equivalence Theory(ppt).pptx|J.C.Catford's Translation Equivalence Theory(ppt)]] by Huang Yiyan; handout [[Media:Translation Equivalence Theory.docx|J.C.Catford's Translation Equivalence Theory]] by Huang Jinyun&lt;br /&gt;
* ppt:  [[Media:Two Types of Equivalence by Eugene A. Nida(ppt).pptx|Two Types of Equivalence by Eugene A. Nida(ppt)]] by Du Lina; handout [[Media: Two Types of Equivalence by Eugene A. Nida.docx|Two Types of Equivalence by Eugene A. Nida]] by Ma Xin&lt;br /&gt;
* ppt:  [[Media:The Three Essences of Functional Equivalence and Its Application.pptx|The Three Essences of Functional Equivalence and Its Application]] by Yi Yangfan; handout [[Media: The Three Essences of Functional Equivalence and Its Application.docx|The Three Essences of Functional Equivalence and Its Application]] by Yin Yuan&lt;br /&gt;
* ppt:  [[Media:Eugene Nida ‘s Principles of Correspondence Theory(ppt).pptx|Eugene Nida ‘s Principles of Correspondence Theory(ppt)]] by Chen Huini; handout [[Media:Eugene Nida ‘s Principles of Correspondence Theory.docx|Eugene Nida ‘s Principles of Correspondence Theory]] by Cai Zhufeng&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 7, Nov 10==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 7&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211110_homework|homework of session 6 for session 7, Nov 10]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!&lt;br /&gt;
*[[20220112_final_exam|Final Exam paper page]]&lt;br /&gt;
&lt;br /&gt;
=Session 7, Nov 10, Topic 6 Translation Studies=&lt;br /&gt;
==Homework for this session Nov 10==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 7&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211110_homework|homework of session 6 for session 7 Nov 10]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 10 on Translation Studies==&lt;br /&gt;
&lt;br /&gt;
* ppt 1:  [[Media:The Name and Nature of Translation Studies(ppt).pptx|The Name and Nature of Translation Studies(ppt)]] by Liu Shengnan; handout [[Media: The Name and Nature of Translation Studies.docx| The Name and Nature of Translation Studies]] by Li Yi&lt;br /&gt;
&lt;br /&gt;
* ppt 2:  [[Media:Five Approaches to Translation.pptx|Five Approaches to Translation]] by Li Wenxuan; handout [[Media:Five Approaches to Translation(handout).docx|Five Approaches to Translation()]] by Li Shan&lt;br /&gt;
&lt;br /&gt;
* ppt 3:  [[Media:Principles of Translation(ppt).pptx|Principles of Translation(ppt)]] by Xiao Yiyao; handout [[Media:Principles of Translation.docx|Principles of Translation]] by Wu Yinghong&lt;br /&gt;
&lt;br /&gt;
* ppt 4:  [[Media:Cultural and Ideological Approaches in Translation(ppt).pptx|Cultural and Ideological Approaches in Translation]] by Mahzad Heydarian; handout [[Media:Cultural and Ideological Approaches in Translation.docx| Cultural and Ideological Approaches in Translation ]] by Mahzad Heydarian&lt;br /&gt;
&lt;br /&gt;
* ppt 5:  [[Media:Roman Jacobson's Categories of Translation(ppt).pptx|Roman Jacobson's Categories of Translation(ppt)]] by Xiong Min; handout [[Media: Roman Jacobson's Categories of Translation.docx| Roman Jacobson's Categories of Translation]] by Sun Yashi&lt;br /&gt;
&lt;br /&gt;
* ppt 6:  [[Media:Lin Yutang' s Translation Aesthetics(ppt).pptx|Lin Yutang' s Translation Aesthetics]] by Luo Anyi; handout [[Media:Lin Yutang' s Translation Aesthetics.docx| Lin Yutang' s Translation Aesthetics]] by Shi Liqing&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 8, Nov 17==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 8&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211117_homework|homework of session 6 for session 8, Nov 17]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 8, Nov 17, Translation Theories =&lt;br /&gt;
==Homework for this session Nov 17==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 8&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211117_homework|homework of session 7 for session 8, Nov 17]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 17 on Translation Theories==&lt;br /&gt;
* ppt 1: [[Media:Translation Theories of George Steiner(ppt).pptx|Translation Theories of George Steiner(ppt)]] by Yang Liuqing 杨柳青; handout [[Media: Translation Theories of George Steiner.docx| Translation Theories of George Steiner]] by Yin Huizhen 殷慧珍&lt;br /&gt;
* ppt 2: [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord(ppt).pptx|The Functional Translation Theory of Reiss, Vermeer and Nord(ppt)]] by Peng Ruixue 彭瑞雪; [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx|The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx]] by Qin Jianan 秦建安. &lt;br /&gt;
* ppt 3: [[Media:Translation Theories of Peter Newmark.pptx|Translation Theories of Peter Newmark]] ppt by Liu Xiao 刘晓; [[Media:Translation Theories of Peter Newmark.docx|Translation Theories of Peter Newmark .docx]] handout by Liu Yue 刘越.&lt;br /&gt;
&lt;br /&gt;
* ppt 4:[[Media:Yan Fu's Translation Thoughts(ppt).pptx|Yan Fu's Translation Thoughts(ppt)]] by Wang Lifei 王李菲; handout [[Media: Yan Fu's Translation Thoughts.docx| Yan Fu's Translation Thoughts]] by Wei Chuxuan 魏楚璇&lt;br /&gt;
* ppt 5: [[Media:Translation of Xu Yuanchong.pptx|Translation theorie of Xu Yuanchong]] ppt by Zhouqing周清; [[Media:Translation of Xu Yuanchong.docx|Translation theorie of Xu Yuanchong]]handout by Zou Yueli邹岳丽.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 9, Nov 24==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 9&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211124_homework|homework of session 8 for session 9, Nov 24]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 9, Nov 24, History of Chinese Translation Theories =&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Nov 24==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 9&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211124_homework|homework of session 8 for session 9, Nov 24]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 24 on Chinese Translation Theories ==&lt;br /&gt;
* ppt 1:  [[Media:The History of Chinese Translation Theories in Qing Dynasty(ppt).pptx|The History of Chinese Translation Theories in Qing Dynasty(ppt)]]ppt by Cheng Yang 程杨 and [[Media: The History of Chinese Translation Theories in Qing Dynasty.docx| The History of Chinese Translation Theories in Qing Dynasty]]handout by Li Shuang 李双. &lt;br /&gt;
* ppt 2: [[Media:The History of Chinese Buddhist Translation Theories(ppt).pptx|The History of Chinese Buddhist Translation Theories(ppt)]] by Qiu Tingting邱婷婷; handout [[Media: The History of Chinese Buddhist Translation Theories.docx| The History of Chinese Buddhist Translation Theories]] by Wei Yiwen 卫怡雯 &lt;br /&gt;
* ppt 3: [[Media:The Chinese Translation Theories During the Period of the May Forth Movement(ppt).pptx|The Chinese Translation Theories During the Period of the May Forth Movement(ppt)]]by Li Wen 李雯; [[Media: The Chinese Translation Theories During the Period of the May Forth Movement.docx|The Chinese Translation Theories During the Period of the May Forth Movement]] handout by Zhou Xiaoxue 周小雪&lt;br /&gt;
* ppt 4: [[Media: The History of Chinese Translation Theories from 1949 to Present(ppt).pptx|The History of Chinese Translation Theories from 1949 to Present(ppt)]]by Yang Aijiang 杨爱江 [[Media: The History of Chinese Translation Theories from 1949 to Present.docx|The History of Chinese Translation Theories from 1949 to Present]] handout by Yang Kun 杨堃&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 10, Dec 1==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 10&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211201_homework|homework of session 9 for session 10, Dec 1]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 10, Dec 1, Appropriateness Theory=&lt;br /&gt;
This is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 1==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 10&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211201_homework|homework of session 9 for session 10, Dec 1]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 1==&lt;br /&gt;
* handout 1: [[Media: Appropriateness Theory.docx| Appropriateness Theory]] by Ei Mon Kyaw 艾梦觉 &lt;br /&gt;
* ppt 1: [[Media:Appropriateness Theory(ppt).pptx|Appropriateness Theory(ppt)]] by Yin Meida殷美达;&lt;br /&gt;
*Teacher presentation [[Media:10_Translation_Studies_Discipline.pptx|10_Translation_Studies_Discipline.pptx]]&lt;br /&gt;
*Teacher presentation [[Media:Appropriateness_Theory_Teacher_Presentation.pptx|Appropriateness_Theory_Teacher_Presentation.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 11, Dec 8==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 11&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211208_homework|homework of session 10 for session 11, Dec 8]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 11, Dec 8, Methods and Style=&lt;br /&gt;
==Homework for this session Dec 8==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 11&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211208_homework|homework of session 10 for session 11, Dec 8]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 8 on Methods and Style==&lt;br /&gt;
* ppt 1: [[Media:The Literal Translation and Free Translation(ppt).pptx|The Literal Translation and Free Translation(ppt)]] by Zhong Yifei钟义菲; handout [[Media: The Literal Translation and Free Translation.docx| The Literal Translation and Free Translation]] by Zhong Yulu钟雨露.&lt;br /&gt;
* ppt 1: [[Media:The Amplification and Omission in Translation(ppt).pptx|The Amplification and Omission in Translation(ppt)]] by Zhou Jiu周玖; handout [[Media: The Amplification and Omission in Translation.docx| The Amplification and Omission in Translation]] by Zhou Junhui周俊辉.&lt;br /&gt;
* ppt 3: [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt).pptx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt)]] by Li Aixuan李爱璇；handout [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example.docx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example]] by Jing Xiaotong金晓童.&lt;br /&gt;
* ppt 4: [[File:Translation Methods of Idioms.pptx|Translation Methods of Idioms(ppt)]] by Liu Yunxin 刘运心; handout [[File:Translation Methods of Idioms.docx|Translation Methods of Idioms(handout)]] by Li Ruiyang 李瑞洋&lt;br /&gt;
* ppt 5: [[Media:11_Chen_Jing_Domestication_and_Foreignization.pptx|Domestication and Foreignization(pptx)]] by Chen Jing 陈静; handout [[File:Domestication and Foreignization.docx|Domestication and Foreignization(handout)]] by Chen Xinyi 陈心怡&lt;br /&gt;
*Teacher presentation [[Media:11_Translation_Studies_Discipline.pptx|11_Translation_Studies_Discipline.pptx]]&lt;br /&gt;
&lt;br /&gt;
[[File:Translation Methods of Idioms.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 12, Dec 15==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 12&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211215_homework|homework of session 11 for session 12, Dec 15]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 12, Dec 15, Theory and Practice.=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 15==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 12&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211215_homework|homework of session 11 for session 12, Dec 15]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 15 on Theory and Practice==&lt;br /&gt;
(Catford Translation Shift Theory and Its Practice) ppt by 周巧 and handout by 朱素珍.（The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature）handout by 罗曦 202120081512；PPT by 詹若萱 202120081549  （Ezra Pound's translation theory and its application in Cathay）handout by 张秋怡 202120081550；PPT by 王逸凡 202120081524&lt;br /&gt;
* ppt 1: [[Media:Catford Translation Shift Theory and Tts Practice(ppt).pptx|Catford Translation Shift Theory and Its Practice(ppt)]] by Zhou Qiao 周巧; handout [[Media:.docx| Catford Translation Shift Theory and Its Practice|Catford Translation Shift Theory and Its Practice ]] by Zhu Suzhen 朱素珍.&lt;br /&gt;
&lt;br /&gt;
* ppt 3：[[Media:Ezra Pound's translation theory and its application in Cathay(ppt).pptx|Ezra Pound's translation theory and its application in Cathay(ppt)]] by Wang Yifan 王逸凡; handout [[Media:Ezra Pound's translation theory and its application in Cathay.docx|Ezra Pound's translation theory and its application in Cathay]] by Zhang Qiuyi 张秋怡.&lt;br /&gt;
&lt;br /&gt;
* ppt 5：[[Media:Skopos Theory and its application by Jawad and Liu Peiting.pptx|Skopos Theory and its application by Jawad and Liu Peiting]] by Jawad Ahmad; handout [[Media:Skopos Theory and Its Application.docx|Skopos Theory and Its Application]] by Liu Peiting 刘沛婷.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 13, Dec 22==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 13&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211222_homework|homework of session 12 for session 13, Dec 22]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 13, Dec 22, Decriptive Studies, Culture, Invisibility, Constructivism=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 22==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 13&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211222_homework|homework of session 12 for session 13, Dec 22]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==&lt;br /&gt;
&lt;br /&gt;
* ppt 1:  [[Media:Gideon Toury's Descriptive Translation Studies(ppt).pptx|Gideon Toury's Descriptive Translation Studies(ppt)]]ppt by Benjamin Wellsand&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 14, Dec 29==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 14&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211229_homework|homework of session 13 for session 14, Dec 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 14, Dec 29, East-West Comparison=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 29==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 14&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211229_homework|homework of session 13 for session 14, Dec 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 29 on East-West Comparison==&lt;br /&gt;
&lt;br /&gt;
ppt 1: A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy ppt by Mao You 毛优; [[Media: A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(Handout).docx|A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(Handout).docx]] handout by Mao Yawen 毛雅文.&lt;br /&gt;
&lt;br /&gt;
ppt 2: A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation——Taking the Translation Concepts of Liu Miqing(刘宓庆) and Susan Bassnett as an Example.                                              [[File:A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation.pptx]] by Wei Zhaoyan魏兆妍；[[File:A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation(handout).docx]] by Wu Jingyue吴婧悦&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 15, Jan 5==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 15&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20210105_homework|homework of session 14 for session 15, Jan 5]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Jan 5:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 15, Jan 5, Review in Preparation of final exam=&lt;br /&gt;
&lt;br /&gt;
=Session 16, Jan 12, Final Exam=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Samples from last year: 人类起源 The emergence of translation and interpretation=&lt;br /&gt;
 Please note: All the sessions (2-16) here are copies of the 2020 course. &lt;br /&gt;
&lt;br /&gt;
 You can have a look how the fellow students did it last year, &lt;br /&gt;
&lt;br /&gt;
 but you have to write everything new here for 2021.&lt;br /&gt;
&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
&lt;br /&gt;
*Student presentations&lt;br /&gt;
&lt;br /&gt;
OLD (2020):&lt;br /&gt;
&lt;br /&gt;
*Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏&lt;br /&gt;
*Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===&lt;br /&gt;
*Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼&lt;br /&gt;
*Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou  by 聂晓楼&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===&lt;br /&gt;
*Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
*Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===&lt;br /&gt;
*Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
*Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===&lt;br /&gt;
1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==3rd Session: History==&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===&lt;br /&gt;
*Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 2:  中国翻译史代表人物The Representatives in Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX&lt;br /&gt;
*Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===&lt;br /&gt;
*Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201005_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==Session 4: Development==&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 1: 西方翻译史 Western translation history===&lt;br /&gt;
*Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===&lt;br /&gt;
*Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===&lt;br /&gt;
*Handout for download: [[Media:...docx|History of Western Translation Theory]]  by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
* Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]]  by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===&lt;br /&gt;
*Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===&lt;br /&gt;
*Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===&lt;br /&gt;
*Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate a short passage of a paper on the Chinese essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201012_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Take part in an online survey. The survey is currently prepared by the fellow students.&lt;br /&gt;
&lt;br /&gt;
==Session 5: ==&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===&lt;br /&gt;
*Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
*Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===&lt;br /&gt;
*Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===&lt;br /&gt;
*Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen&lt;br /&gt;
*Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===&lt;br /&gt;
*Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===&lt;br /&gt;
*Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===&lt;br /&gt;
*Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 6: Early Theories==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201019_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 1: 巴斯奈特文化翻译观  The Cultural Translation Theory of Bassnett===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:  [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 2: 中国早期代表性佛经翻译理论  Early Representative Theories of Buddhist Scriptures Translation in China===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式  The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》  A Linguistic Theory of Translation of J.C.Catford===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===&lt;br /&gt;
Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|Qi Kai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 6: 系统翻译理论的早期尝试  Early Attempts at Systematic Translation Theory===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:  [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 7: Western theories==.   周巧 presentation  PowerPoint    朱素珍 handout    Cat ford Translation Shift Theory&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201026_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 2: 多元系统理论 Polysystem Theory===&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 4： 布拉格学派 Prague School===&lt;br /&gt;
&lt;br /&gt;
Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 5： 目的论 Skopos Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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===Session 7, Topic 6： 语言学派 Linguistic School===&lt;br /&gt;
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Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)&lt;br /&gt;
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Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)&lt;br /&gt;
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==Session 8: Methods==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201102_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 1： 正说反译与反说正译 Negation===&lt;br /&gt;
Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 5： 增译与减译 Amplification and Omission===&lt;br /&gt;
Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing&lt;br /&gt;
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===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===&lt;br /&gt;
Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 9: Style==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201116_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===&lt;br /&gt;
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Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 9, Topic2 : 科技翻译 Scientific Style===&lt;br /&gt;
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Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===&lt;br /&gt;
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Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===&lt;br /&gt;
Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 5: 翻译与风格 Translation and Style= ==&lt;br /&gt;
Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang&lt;br /&gt;
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Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu&lt;br /&gt;
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[[Media:Example.ogg]]&lt;br /&gt;
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==Session 10: Translation Studies==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201123_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 10,Topic 1: 翻译转换 Translation Shifts===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===&lt;br /&gt;
Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 3: 视听翻译 Audiovisual Translation===&lt;br /&gt;
Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU&lt;br /&gt;
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Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===&lt;br /&gt;
[[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)&lt;br /&gt;
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[[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies===&lt;br /&gt;
Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies.pptx]]  --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====&lt;br /&gt;
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Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Untranslatability &amp;amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 11: Theory and Practice==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201130_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===&lt;br /&gt;
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Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== &lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 6:女性主义翻译 The Feminist Translation===&lt;br /&gt;
 &lt;br /&gt;
Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation：[[Media:Feminist Translation.pptx]]&lt;br /&gt;
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==Session 12: Different Aspects==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201207_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 1: 政论文翻译 Translation of Political Text===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)&lt;br /&gt;
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Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin  --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 2: 诗歌翻译 Poem Translation===&lt;br /&gt;
Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)&lt;br /&gt;
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[[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp;amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 3: 旅游翻译 Tourism Translation===&lt;br /&gt;
Classroom handout for download:[[Media:Tourism Translation.pptx]]           by Tan Xinjie &amp;amp; Wei Yafei          --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei          &lt;br /&gt;
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[[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp;amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei&lt;br /&gt;
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==Session 13: East West comparison==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201214_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===&lt;br /&gt;
[[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming&lt;br /&gt;
[[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong&lt;br /&gt;
&lt;br /&gt;
===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===&lt;br /&gt;
&lt;br /&gt;
[[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)&lt;br /&gt;
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[[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===&lt;br /&gt;
[[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)&lt;br /&gt;
[[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===&lt;br /&gt;
[[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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[[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia&lt;br /&gt;
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===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===&lt;br /&gt;
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[[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling&lt;br /&gt;
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[[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]&lt;br /&gt;
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===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning  --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 14: Strategies==&lt;br /&gt;
===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201221_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]]  Ma Zhixing＆Wu kai  --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]]   Ma Zhixing＆Wu kai  --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]]  Tang Yiran&amp;amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]]   Tang Yiran&amp;amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &amp;quot;Snow Country&amp;quot; as an Example===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Contrast of Differences in  Japanese-English Xie Ziyi&amp;amp; Peng  Yongliang.docx]]  &lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Contrast of Differences in  Japanese-English Xie Ziyi&amp;amp; Peng  Yongliang.pptx]]   &lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 15: Contemporary Translation Theories==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201228_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Topic 1 Contemporary Translation Theories ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Contemporary Translation Theories.docx]]  &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]]   &lt;br /&gt;
--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 16: Final Discussion==&lt;br /&gt;
&lt;br /&gt;
==List of topics for presentations and handouts in class==&lt;br /&gt;
1 Emergence: &lt;br /&gt;
孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源&lt;br /&gt;
&lt;br /&gt;
2 History: &lt;br /&gt;
周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史&lt;br /&gt;
 &lt;br /&gt;
3 Development: &lt;br /&gt;
韩宛真 邓锦霞: 机器翻译的发展;  蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展&lt;br /&gt;
&lt;br /&gt;
4 Early Literary Examples: &lt;br /&gt;
许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟&lt;br /&gt;
&lt;br /&gt;
5 Early Theories: &lt;br /&gt;
徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试&lt;br /&gt;
&lt;br /&gt;
6 (Western) Theories: &lt;br /&gt;
康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派&lt;br /&gt;
&lt;br /&gt;
7 Methods: &lt;br /&gt;
甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦&lt;br /&gt;
&lt;br /&gt;
8 Style: &lt;br /&gt;
孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳&lt;br /&gt;
&lt;br /&gt;
9 Translation Studies: &lt;br /&gt;
罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略&lt;br /&gt;
&lt;br /&gt;
10 Theory and Practice: &lt;br /&gt;
彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓  王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅;  阳慧 张佩闻; &lt;br /&gt;
&lt;br /&gt;
11 Different Aspects: &lt;br /&gt;
周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; &lt;br /&gt;
&lt;br /&gt;
12 East West Comparison: &lt;br /&gt;
唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较;  莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。&lt;br /&gt;
&lt;br /&gt;
13 Strategies: &lt;br /&gt;
吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠&lt;br /&gt;
&lt;br /&gt;
14 Contemporary translation Theories: &lt;br /&gt;
Sagara Seydo Nguyen, Thuy Hien (Helen)&lt;br /&gt;
&lt;br /&gt;
==List of Topics for final exam papers in Translation Studies==&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
Ideas&lt;br /&gt;
*literal vs. free&lt;br /&gt;
*Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization&lt;br /&gt;
*unit of translation&lt;br /&gt;
*contrastive analysis&lt;br /&gt;
*the equivalence problem (functional, dynamic)&lt;br /&gt;
*translatability vs untranslatability &lt;br /&gt;
*SLT vs TLT relation&lt;br /&gt;
*translation types, strategies, styles, methods&lt;br /&gt;
*communication factors, translator role in social setting&lt;br /&gt;
*cognitive factors&lt;br /&gt;
*machine translation&lt;br /&gt;
*translation quality assessment&lt;br /&gt;
*translation ethics / manipulation etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggested topics for final exam papers (chapters of book on translation studies)&lt;br /&gt;
&lt;br /&gt;
Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.&lt;br /&gt;
&lt;br /&gt;
Here is the link to the list: [[Topics in Translation Studies]]&lt;br /&gt;
&lt;br /&gt;
=Final Exam Papers=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&amp;lt;/span&amp;gt;&lt;br /&gt;
==Structure==&lt;br /&gt;
需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。&lt;br /&gt;
&lt;br /&gt;
==Tips for writing your final exam paper: How to indicate your references==&lt;br /&gt;
*You can use the existing book chapters here as an example.&lt;br /&gt;
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Do '''not''' write any references like in one of the sample chapters:&lt;br /&gt;
&lt;br /&gt;
[1] dsalkfkdsa&lt;br /&gt;
&lt;br /&gt;
[2] adsfadsfag&lt;br /&gt;
&lt;br /&gt;
But only the following way:&lt;br /&gt;
&lt;br /&gt;
(Liu Miqing 2010, 17) in the text&lt;br /&gt;
&lt;br /&gt;
and then&lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.&lt;br /&gt;
&lt;br /&gt;
Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):&lt;br /&gt;
 = = Topic = =&lt;br /&gt;
 &amp;lt; c e n t e r &amp;gt; Student Name, Student no. &amp;lt; / c e n t e r &amp;gt;&lt;br /&gt;
 = = = Abstract = = =&lt;br /&gt;
 This chapter is on ....&lt;br /&gt;
 = = = Key Words = = =&lt;br /&gt;
 Egg, Hen&lt;br /&gt;
 = = = 题目 = = =&lt;br /&gt;
 = = = 摘要 = = =&lt;br /&gt;
 = = = 关键词 = = =&lt;br /&gt;
 = = = Introduction = = =&lt;br /&gt;
 Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.&lt;br /&gt;
 = = = The Egg = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = The Hen = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = Conclusion = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = References = = =&lt;br /&gt;
 Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT&lt;br /&gt;
&lt;br /&gt;
==Sample papers==&lt;br /&gt;
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &amp;quot;Sample paper&amp;quot;.&lt;br /&gt;
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories&lt;br /&gt;
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications&lt;br /&gt;
* Comparative Study on Functional Equivalence Theory and Skopos Theroy&lt;br /&gt;
* Comparison of Derrida’s and Benjamin’s Translation View&lt;br /&gt;
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish&lt;br /&gt;
* On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories&lt;br /&gt;
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics&lt;br /&gt;
* The Translation of Culture-loaded Words in Chinese-English Communication&lt;br /&gt;
* Translators' Views on Translation Influence Their Translation Behavior&lt;br /&gt;
&lt;br /&gt;
==Website to write your final exam paper on==&lt;br /&gt;
[[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
As a reference, here is the information about last year's final exam papers:&lt;br /&gt;
&lt;br /&gt;
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).&lt;br /&gt;
&lt;br /&gt;
Here you can write your Final Exam Papers:&lt;br /&gt;
&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han,  李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]&lt;br /&gt;
&lt;br /&gt;
=Benefits=&lt;br /&gt;
This course is registered as a &amp;quot;EU Expert&amp;quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.&lt;br /&gt;
&lt;br /&gt;
=Misplaced things=&lt;br /&gt;
Handout 4 of Ren Xin --&lt;br /&gt;
贺骥.“世界文学”概念:维兰德首创：&lt;br /&gt;
Summary： 主要讲述了人们发现维兰德首次提出“世界文学”的过程，维兰德对“世界文学”的概念以及与歌德的比较。&lt;br /&gt;
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一、为何说维兰德首创“世界文学”？&lt;br /&gt;
1987 年，德国学者魏茨( Hans-Joachim Weitz，1904—2001) 在《阿卡迪亚》杂志上发表了一篇题为《维兰德是“世界文学”一词的首创者》的短文。魏茨声称他发现了德国作家维兰德( Christoph Martin Wieland，1733—1813) 在1790 至1813 年间亲笔书写的一则手记中首次提到“世界文学”。但维兰德于1813 年1 月20 日去世，他的同时代人并不知道他写有这则手记，歌德在不知情的情况下从1827 年1 月15 日起多次使用了“世界文学”这个词。维兰德与歌德对于“世界文学”的概念相近，但他没有详细论证。所以说，“世界文学”一次是维兰德首创，歌德第一次明确提出的&lt;br /&gt;
二、维兰德“世界文学”的概念与歌德的比较&lt;br /&gt;
1. 维兰德在创作早期作品时：世界文学就是世界各民族的文学名作的总集。该观点体现在《民族文学》文学是世界各民族的共同精神财富，世界文学就是所有时代所有民族的典范作品总集。&lt;br /&gt;
2. 和歌德一样，维兰德的世界文学概念带有言必称希腊的欧洲中心主义色彩，他的世界文学乃是以古希腊罗马文学为正典、以欧洲文学为核心的世界各民族文学经典的总集。“阅读最优秀的作家的杰作”乃是维兰德“世界文学”概念的核心: 杰作即古往今来世界各民族的文学经典。&lt;br /&gt;
3. 维兰德认为优秀作品的形成过程: 首先作家必须以阅世高人的文化修养和娴熟的艺术技巧创造有审美价值的“文学杰作”；其次是后世“最优秀的人们”对这些杰作的“宣扬”和“奉为样板”。&lt;br /&gt;
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三、“世界文学”概念有三种定义: &lt;br /&gt;
( 1) 广义的“世界文学”指的是所有民族和所有时代文学作品的总和( Gesamtliteratur) ; &lt;br /&gt;
( 2) 狭义的“世界文学”指的是超时代的、具有普遍审美价值的世界各民族文学的典范作品总集( Kanon) ，换言之，“世界文学”就是具有世界声誉的文学杰作的荟萃，这种精英主义意义上的“世界文学”概念在当今学界占据了主导地位; &lt;br /&gt;
( 3) 歌德于1827 年提出的文学发展蓝图，它指的是国际性的文学交往( Kommunikation der Literatur) 和文化接触，交往的结果就是具有特性的各民族文学的融合。&lt;br /&gt;
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Reference: &lt;br /&gt;
贺骥.“世界文学”概念:维兰德首创[J].社会科学,2014(07):176-182.    --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:24, 13 April 2018 (UTC)&lt;br /&gt;
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[1]文飙.阿拉伯民间文学的珍品《一千零一夜》.&lt;br /&gt;
1.流传情况： &lt;br /&gt;
《一千零一夜》早在公元六世纪左右已在波斯、伊拉克和埃及产生并流传着。公元十世纪阿拨斯王朝统治时代汇集成书,后又经过数百年不断搜集、整理、加工和修改；大约到十六世纪才形成比较完整的总集。&lt;br /&gt;
2.故事发生的地点：多在当时阿拉伯世界两大中心城市— 巴格达及开罗。&lt;br /&gt;
3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：&lt;br /&gt;
这个译名的来源说明中世纪时期阿拉伯帝国与中国的关系。阿拉伯半岛的麦加城在帝国中称为“ 圣城”, 城内有古庙名“ 天房”, 中国古嫂都译为“ 天方”, 实即“ 天房”之误。我国明朝以前称阿拉伯为黑衣大食国，明朝以后则称为“ 天方国”, 这就是旧译本称为《天方夜谭》的原因。&lt;br /&gt;
4.故事内容： 《一千零一夜》是一部包罗万象的民间故事集, 有格言、谚语、童话, 王子公主的恋爱故事, 及市民冒险故事。这些故事的主角从底层的劳苦大众到最高的统治者哈里发。能够比较全面而深刻地反映中世纪东方的社会生活。&lt;br /&gt;
5.《一千零一夜》的起源：&lt;br /&gt;
在古代印度和中国为海岛中,有一个萨桑国。残暴的国王山鲁亚尔每夜娶一王后,翌晨即杀掉再娶。老百姓受此威胁,十分恐怖,纷纷携儿带女逃走,致使城中十室九空。然而国王仍照例命令宰相寻找女子供他虐杀。一天，宰相找遍民间，没找到一个,便满怀恐惧、忧郁地转回府邸来。宰相的大女儿山鲁佐德见父亲情状,问明情由,执意让父亲把她嫁给国王,宰相不得已才把女儿送进宫去。山鲁佐德一见国王,就悲伤地哭泣起来，她希望国王允许她在死之前能和妹妹再见一面,国王同意了,派人到宰相家召敦亚佐德进宫。姐妹俩高高兴兴地坐在床脚下谈笑。其时,敦亚佐德请求姐姐讲个故事消磨时间。山鲁佐德便征得国王许可,开始讲起故事来,借以引动国王的好奇心和兴趣,从而免遭杀戮。这样,日复一日,山鲁佐德一直讲了一千零一个夜晚,最后，终于使国王悔悟。&lt;br /&gt;
6.影响：&lt;br /&gt;
《一千零一夜》在世界各国广为传播。&lt;br /&gt;
它最早介绍到欧洲,对西方文化起过一定的积极作用,许多欧美文学艺术家,如但丁、乔叟、薄伽丘、莎士比亚、塞万提斯、莱辛等都或多或少地受到它的直接或间接的影响。     &lt;br /&gt;
在我国，早在六十多年以前就有了《一千零一夜》的译本。&lt;br /&gt;
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[2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.&lt;br /&gt;
摘要：《一千零一夜》对世界文学的借鉴与影响。荷马史诗中的巨人故事对《一千零一夜》的启发 ,《一千零一夜》对法国、英国、德国、中国作家的影响。 &lt;br /&gt;
一、流传情况：&lt;br /&gt;
1.流传时间：多数学者认为:它的故事和手抄本在中近东地区开始流传的年代约在8 世纪中叶—9 世纪中叶。一些世界文学史家则认为:大约在十字军东征时期(1095— 1291), 《一千零一夜》的故事已通过民间传到欧洲。&lt;br /&gt;
2.流传情况： &lt;br /&gt;
a. 18 世纪初, 法国人加朗根据叙利亚抄本, 首次把《一千零一夜》译成法文出版, 以后在欧洲出现了各种文字的译本。&lt;br /&gt;
b. 中国1900 年有过译本, 以后不断的出现多种白话文本。新中国成立后, 纳训选译的3 卷本以及80 年代出版的全译本1 —6 卷, 收集了275 个故事。&lt;br /&gt;
二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴&lt;br /&gt;
《一千零一夜》第4 卷第172 个故事《辛伯达航海的故事》写三次航海的故事, 可以看出受到古希腊荷马史诗《奥德修纪》中独眼巨人故事的影响, 又带有阿拉伯民族的特色。&lt;br /&gt;
三、《一千零一夜》对世界文学的影响：&lt;br /&gt;
1.文艺复兴人文主义作家对《一千零一夜》中故事的扬弃与创新&lt;br /&gt;
a)法国：《一千零一夜》第2 卷第75 个故事《阿里·艾尔哲明的故事》与法国文艺复兴时期拉伯雷《巨人传》中第三代国王庞大固埃出生时的行囊装载十分相似。&lt;br /&gt;
b)英国：在《一千零一夜》第3 卷第152 个故事的《亚历山大大帝和弱小民族的故事》与英国文艺复兴时期的作家莎士比亚的《哈姆雷特》中有类似的情节，两个故事有历史延续性与巧妙的联系。&lt;br /&gt;
《一千零一夜》：&lt;br /&gt;
东征西讨的希腊国王亚历山大,一次路过一个弱小国家, 其民众各自门前准备好了坟墓, 家家一贫如洗, 安贫乐道, 所以并不怕亚历山大来争夺地盘。亚历山大十分好奇, 亲自见他们的国王。国王拿了两个头骨, 告诉他这是两个国王的头骨, 一个生前暴虐, 死后安拉让他下地狱;一个生前公正廉明, 爱护百姓, 死后安拉让他升入天堂。国王又问亚历山大:“ 到底你是这两个帝王中的哪一个呢?”年青的亚历山大受了感动, 要这个国王做他的宰相。国王拒绝了他, 说他虽拥有一个大帝国, 却有许多仇敌。国王虽穷, 他所有的一切“ 仅仅是知足” 。亚历山大感慨万千,告辞归去, 不再侵犯他们。&lt;br /&gt;
《哈姆雷特》：第五幕第一场墓地对话中 &lt;br /&gt;
哈姆雷特面对死人头骨说道:“ 要是我们用想像推测下去, 谁知道亚历山大的高贵的尸体, 不就是塞在酒桶口上的泥土?”“ 凯撒死了, 你尊严的尸体, 也许变了泥把破墙填砌, 啊! 他从前是何等的英雄, 现在只好替人挡风遮雨。”&lt;br /&gt;
c)意大利：意大利文艺复兴时期的小说家卜伽丘的《十日谈》中的贵妇宴请国王吃鸡宴, 以打退国王邪念的故事, 在《一千零一夜》第4 卷第175 个故事《宰相夫人的故事》中有类似情节。&lt;br /&gt;
2.对18 世纪英国现实主义小说家笛福《鲁宾逊飘流记》的影响&lt;br /&gt;
把《辛伯达航海的故事》与《鲁宾逊飘流记》相比较, 辛伯达可以说是鲁宾逊典型的雏型与前身, 鲁宾逊则更加丰富, 更带时代特点。&lt;br /&gt;
1)不同点： &lt;br /&gt;
辛伯达是中世纪阿拉伯人中积极进取, 发展海外贸易,不断向外开拓勇于冒险的新兴商人, 他开初坐享父亲遗产,挥霍一空, 最后决定变卖家产七次到海上做冒险生意。&lt;br /&gt;
鲁宾逊是18 世纪英国资本主义原始积累时期的新资产阶级商人的代表, 父亲没有给他丰厚的资产, 他本人是不满现状的小商人, 三次海外冒险；&lt;br /&gt;
辛伯达是在第7次航海时在一个岛国居住了27 年才返回故乡, 鲁宾逊是在第三次航海时在一个荒岛上度过了28 年, 才返回故乡。&lt;br /&gt;
2)相似点：&lt;br /&gt;
两人都曾遭到过毁灭性的打击, 死里逃生,但每次都以顽强的毅力, 惊人的应变能力, 沉着应付, 化险为夷；发财致富的欲望, 对海外世界的好奇与向往, 每次都促使他们不安现状, 敢于做一次又一次的冒险。&lt;br /&gt;
3.对中国作家的影响&lt;br /&gt;
《一千零一夜》第1 卷第12 个故事《脚夫和巴格达三个女人的故事》中，脚夫诵的表达自己忠信的诗同中国现代作家钱钟书的长篇小说《围城》中的苏小姐自己写的诗相似。这里已改造成一首爱情诗, 方鸿渐当时并不知道是苏小姐自己写的诗, 说这首诗是借的外债,&lt;br /&gt;
四、小结&lt;br /&gt;
因为国别不同, 语言不通, 翻译技术有限，后来的作家们不一定能亲自看到这些《一千零一夜》中的故事原文。但阿拉伯文化与文学对欧洲文艺复兴运动及后来的世界文学的发展起到的推动作用和所作的贡献是世界发展史上所公认的事实。&lt;br /&gt;
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[3]陆英英.《一千零一夜》在欧洲.&lt;br /&gt;
摘要： 介绍了欧洲许多国家早期对《一千零一夜》的译本。《一千零一夜》译成欧洲各种文字后, 引起了欧洲人收集和研究东方文学的热望, 激起了他们了解东方的兴趣。《一千零一夜》对欧洲文学包括戏剧、小说、诗歌、诗剧都产生了巨大影响。&lt;br /&gt;
1.法国译本：&lt;br /&gt;
A.1704-1717年出现的法国安东尼·加仑的译本是《一千零一夜》——最著名的译本。为了迎合读者掺杂了许多自己想象的情节&lt;br /&gt;
B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版&lt;br /&gt;
C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作&lt;br /&gt;
2.英国译本（几乎都是从法国译本转译而来）： &lt;br /&gt;
A.1811年乔纳森·斯科特出版的译本 —— 最突出&lt;br /&gt;
B.1838年，亨利·托伦斯打算给译文加注释, 但他只译了五十夜就死了&lt;br /&gt;
C.1839-1841年，爱德华·威廉·莱恩的《一千零一夜》三卷本（从阿文直译），删去了当时英国的道德传统所不能接受的故事, 并写了许多注释 —— 极具参考价值&lt;br /&gt;
D.1885年，理查德·伯顿的译本出版 —— 最完备的译本&lt;br /&gt;
E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩&lt;br /&gt;
3.德国译本：&lt;br /&gt;
A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。&lt;br /&gt;
B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩&lt;br /&gt;
C.东方学家莱塔马教授 —— 德国最著名的译本&lt;br /&gt;
4.罗马尼亚译本：&lt;br /&gt;
A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早&lt;br /&gt;
B.1783年，修道院主教罗法伊勒出版了根据希腊文译出的全译本&lt;br /&gt;
C.1835-1838年格拉西姆·哥嘉出版《哈利曼或者阿拉伯神话故事》四卷本译本&lt;br /&gt;
D.1966-1976，罗马尼亚最大出版社——梅纳法出版社出版了十四卷本的《一千零一夜》&lt;br /&gt;
5.俄文译本：&lt;br /&gt;
A.萨利尔译的，东方学家卡利姆斯基出版的。&lt;br /&gt;
B.高尔基于1904年也译过。&lt;br /&gt;
C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。&lt;br /&gt;
6.捷克译本：&lt;br /&gt;
1958-1963年捷克斯洛伐克科学院出版的塔瓦外孜授译的《一千零一夜》全集。&lt;br /&gt;
7.波兰译本：&lt;br /&gt;
1774年出版了第一本——《阿拉伯传奇或一千零一夜》&lt;br /&gt;
8.威尼斯译本：&lt;br /&gt;
1757-1762年，出版了四卷本的《一千零一夜》和《一千零一日》故事集, 书名为《阿拉伯故事》。&lt;br /&gt;
9.希腊译本：&lt;br /&gt;
译者为布利兹威斯，译本分三卷。&lt;br /&gt;
10.此外还有葡萄牙语、荷兰语、丹麦语、瑞典语、匈牙利语等译本。&lt;br /&gt;
东方学家朝温在《阿拉伯著作一览》一书中用了一百二十页专门介绍《一千零一夜》的各种版本和文本。&lt;br /&gt;
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参考文献：&lt;br /&gt;
[1]文飙. 阿拉伯民间文学的珍品《一千零一夜》[J].徐州师范学院学报,1978(02):59-64.&lt;br /&gt;
[2]冯辉. 略论《一千零一夜》对世界文学的借鉴与影响[J].河南教育学院学报(哲学社会科学版),2001(01):110-112.&lt;br /&gt;
[3]陆英英.《一千零一夜》在欧洲[J].阿拉伯世界,1983(02):84-90.     --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:34, 16 April 2018 (UTC)&lt;br /&gt;
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[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. &lt;br /&gt;
&lt;br /&gt;
摘要： 中国翻译史的源头是佛经翻译，而西方翻译史则始于另一部宗教巨著———圣经翻译。中国的佛经翻译和西方的圣经翻译虽然在具体内容、翻译分期、信徒和对应的时代背景等方面有所差异，但两者都经历了直译、意译、直意译相结合的发展历程。本文对比了佛经翻译和圣经翻译，探求宗教类文献翻译中的共同特点。&lt;br /&gt;
1.佛经翻译&lt;br /&gt;
A.四个时期：&lt;br /&gt;
a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；&lt;br /&gt;
b.初步发展阶段是（晋代到隋朝），代表人物有道安和鸠摩罗什；&lt;br /&gt;
c.鼎盛时期（唐朝），代表人物为玄奘、不空；&lt;br /&gt;
d.逐渐结束于北宋。&lt;br /&gt;
B.翻译形式&lt;br /&gt;
最初由西域僧人的梵语口授，再找汉人加以润饰。音译。&lt;br /&gt;
后来出现精通汉语的印度高僧和熟练掌握梵语的中国高僧。直译为主。&lt;br /&gt;
C.翻译大家&lt;br /&gt;
三藏法师，从数量和翻译成就都无人能比。直译&amp;amp;意译结合。&lt;br /&gt;
2.圣经翻译&lt;br /&gt;
A.概况&lt;br /&gt;
圣经翻译是西方翻译史的起源。经历了希伯来文－希腊文－拉丁文的过程。&lt;br /&gt;
B.流传形式：手写本。&lt;br /&gt;
C.最早的圣经译本：公元前3-2世纪《圣经·旧约》（据《西方翻译简史》记载。后世也叫《七十子希腊文本》。&lt;br /&gt;
缺点：用词晦涩难懂，不易理解，跟当时的希腊语有较大的出入。&lt;br /&gt;
优点：此译本特别完整准确地还原了圣经原籍的内容。&lt;br /&gt;
D.翻译大家：a. 西塞罗—西方翻译史上最早的翻译理论家，主张活译。&lt;br /&gt;
b. 圣哲罗姆—翻译了第一部标准拉丁语圣经。直译和意译相结合。&lt;br /&gt;
3.佛经翻译和圣经翻译的相似性：&lt;br /&gt;
经历了直译—意译—直意译结合的过程。&lt;br /&gt;
A.最初翻译时，中西译者都是逐字逐句的直译。&lt;br /&gt;
原因：宗教经典神圣不可侵犯，译经僧侣对宗教经典抱有虔诚态度；&lt;br /&gt;
由于译者身份的局限性，缺乏专业的语言翻译基础。&lt;br /&gt;
B.随着经验的累积，译者们开始倡导意译。&lt;br /&gt;
代表人物：马丁路德&lt;br /&gt;
原因：受众人群都是普通老百姓，需要简单流畅、明晓易懂的语言才能让教义被大众所通晓。&lt;br /&gt;
C.主张直译&amp;amp;意译相结合。&lt;br /&gt;
代表人物：玄奘大师—《钦定本圣经》&lt;br /&gt;
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[2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.&lt;br /&gt;
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摘要：作者认为比利时学者安德烈勒菲弗尔（当代文学翻译学术带头人，较有影响力）由于对中国翻译史缺乏深入研究，对中国的佛经翻译了解不透彻，在《中西方翻译思想比较》中提出“西方译者更为忠实原文, 而中国译者则倾向于归化原文”的观点较为片面。并提出佛经翻译和圣经翻译的共有规律：直译、意译两原则交替主导翻译活动并趋于成熟，直至最终实现两者的有机融合。&lt;br /&gt;
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[3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.&lt;br /&gt;
摘要：《圣经》翻译的主要功能是服务于宗教的传播。但译者们对其“创造性叛逆”的翻译，使得《圣经》对世界各民族语言，包括对中国语言文学都产生了深远影响，同时推动各国文化交流、促进不同思想的包容。&lt;br /&gt;
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1.翻译不只是语言文字的转换，而是应关注原文在外语和本族语转换过程中的信息的失落、变形、增添、扩散等问题。&lt;br /&gt;
2.《圣经》翻译对西方各国（民族）语言的影响 —— 不分析译本翻译的好坏，而是分析译本对译入语国家或民族的文化和语言所产生的影响。&lt;br /&gt;
A.4世纪，乌裴拉主教翻译成东日耳曼语。&lt;br /&gt;
8、9世纪，阿尔弗雷得等翻译成古英语。&lt;br /&gt;
这些标志着民族语言翻译的开始。&lt;br /&gt;
B.《圣经》翻译在13世纪达到了新的高潮。&lt;br /&gt;
C.马丁路德：把《圣经》新约和旧约翻译成德语，并且翻译成能被大众所接受的语言。他认为翻译就是让外语成为译者的本土化语言。&lt;br /&gt;
作用：消除了普通人对《圣经》的语言障碍，对统一德语和发展德语做出贡献。&lt;br /&gt;
D.威廉廷代尔的译本成为英国翻译史上最著名的英王钦定本的主要参照本。&lt;br /&gt;
作用：完全符合英语的用法习惯，增加了英语的表现力；&lt;br /&gt;
对英国散文、语言和文化发展起到了不可估量的作用。&lt;br /&gt;
3.《圣经》在汉译中的创造性叛逆&lt;br /&gt;
A.创造的叛逆性翻译是为了使《圣经》在新的环境中易于被受众接受。&lt;br /&gt;
B.特征：&lt;br /&gt;
a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。&lt;br /&gt;
吴经熊翻译的《新约全集》:“天主聖子耶穌基督福音之濫觴，正如《意灑雅先知書》之所記云:吾遣使者，以先啟行; 為爾前驅，備爾行程。”&lt;br /&gt;
b.误译：严复的译本以中国士大夫为主要读者，因此他的译本符合士大夫的价值观，同时也降低阅读难度。&lt;br /&gt;
c.改编或删节：严复考虑到中国读者几千年来的儒家文化熏陶，迎合中国道德伦理和文化。&lt;br /&gt;
4.《圣经》汉译对中国语言文学的影响&lt;br /&gt;
a.丰富了汉语词汇，为现代汉语带来许多新意象和表达方式。如，天堂、伊甸园等。&lt;br /&gt;
b.影响中国现代文学的创作主体，许多意象来源于《圣经》中的典故。&lt;br /&gt;
c.影响许多中国著名的作家和文学理论家。如，鲁迅、冰心、徐志摩等。&lt;br /&gt;
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[4] 曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23.&lt;br /&gt;
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《圣经》中包含的男权思想：&lt;br /&gt;
1.创世纪故事中包含的男权思想。&lt;br /&gt;
a.在上帝创世的神话中，男性亚当是用象征承载人类生命的泥土按上帝的形象创造出来的，而女性夏娃是作为男性的附属品用亚当的肋骨而创造出来的，目的是为亚当消除孤独寂寞。&lt;br /&gt;
b.创世纪故事中，包含“女人是祸水”思想。作为女性象征的夏娃经不住蛇的诱惑，偷吃了禁果，使人类受到上帝的惩罚，开始了苦难。&lt;br /&gt;
2.“圣经故事”中的先知先觉、基督英雄们都是男性。&lt;br /&gt;
人类历史的英雄史都是谱写男性的。整个圣经故事都是以男性英雄为主线而描绘基督教历史的。从最早制造方舟振救人类的挪亚，到带领以色列人出埃及，使以色列人摆脱埃及法老贵族奴役的摩西，到带领以色列人力战外族，为以色列人开缰拓土的约书亚，再到带领以色列人雪耻，赶走外族，使以色列人建国的大卫以及拯救人类的耶稣等等。&lt;br /&gt;
3.婚姻家庭中的男权思想、夫权思想	&lt;br /&gt;
a.嫡长子制，忽视女性后代的存在。&lt;br /&gt;
b.多妻制。基督英雄们都是妻妾成群，可以主人的身份任意拥有女人。&lt;br /&gt;
c.休妻制。女性不论犯不犯错都可能被休。甚至可以被男性当财产、畜生一样送人。&lt;br /&gt;
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[5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究, 2009(00):35-44.&lt;br /&gt;
摘要：作者认为出现在父权制社会的圣经充满了男性形象和语言，对《圣经》进行重新的诠释，以挑战圣经中的父权制。焦点是希伯来圣经，重点不仅仅落在不利于女性的事例上。 考量了圣经中女性研究的三条女性主义进路。&lt;br /&gt;
1.阐释了一些不利于女性的故事。希伯来女子从生到死都属于男人，遭受到男性权威的虐待、凌辱。&lt;br /&gt;
2.重申被忽视的女性作为上帝的篇章和反抗父权制文化的女性形象。&lt;br /&gt;
3.利用前两种方式，同情地重新讲述关于妇女的故事&lt;br /&gt;
（作者菲利斯·特丽波被认为是在圣经文本基础上探索妇女与性别问题的领袖人物）&lt;br /&gt;
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[6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.&lt;br /&gt;
女性经验是重新阐释圣经的基点。&lt;br /&gt;
女性主义圣经诠释随着女性神学的繁荣而发展。女性圣经诠释是不同于女性主义神学的独立学科，它具有独立的研究前提和范畴。&lt;br /&gt;
核心内容：对传统的圣经诠释和基督神学所建构的两性关系提出质疑和批判；寻找、重建圣经中被忽视、被遗忘的女性形象，恢复重建女性的地位和尊严；为争取女性在教会中担任圣职而斗争。&lt;br /&gt;
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参考文献：&lt;br /&gt;
[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. &lt;br /&gt;
[2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.&lt;br /&gt;
[3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.&lt;br /&gt;
[4]曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23. &lt;br /&gt;
[5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究,2009(00):35-44.&lt;br /&gt;
[6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 02:42, 4 June 2018 (UTC)&lt;br /&gt;
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《霍乱时期的爱情》&lt;br /&gt;
加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物&lt;br /&gt;
1967年，《百年孤独》；1982年， 获诺贝尔奖；1985年，《霍乱时期的爱情》&lt;br /&gt;
故事是以费尔明娜和阿里萨、乌尔比诺医生爱恨悲欢的三角恋为主线，以阿里萨与其余622名女性形形色色的性欲与真情为副线。小说采用了顺时叙述。以乌尔比诺的棋友之死为故事的开始，先后讲述了：医生的婚后生活；阿里萨和费尔明娜如诗如梦的初恋，乌尔比诺追求费尔明娜并与之结婚；阿里萨的失望心情和纵欲寻欢；费尔明娜婚后生活的不快和孀居的孤独；阿里萨耐心点燃费尔明娜心中的爱火。&lt;br /&gt;
一.主要人物：&lt;br /&gt;
1.阿里萨：喜欢阅读、喜欢写诗。多愁善感，阴郁。一生中有过623个女人，但费尔明娜是他一生的挚爱。最后在他并不怎么上心的航运公司里获得了董事长的职位。&lt;br /&gt;
“费尔明娜，我等待这个机会，已经有51年9个月零4天了，在这段时间里，我一直爱着你，从我第一眼见到你，直到现在，我第一次向你表达我的誓言，我永远爱你，忠贞不渝。”这句话是在等待了半个世纪终于等到费尔明娜的丈夫死去后，阿里萨在葬礼之后再一次对费尔明娜隔了51年的第二次表白。&lt;br /&gt;
2.费尔明娜：她是骡子商人的女儿，美丽、智慧并且高傲。被阿里萨追求却遭到父亲的强烈反对，后来嫁给医生乌尔比诺。&lt;br /&gt;
3.乌尔比诺医生：擅长治疗霍乱的医生，黄金单身汉，知识渊博，外表帅气（虽然电影里图片很猥琐），热爱城市并致力于为他的城市他的家乡奉献，但实际上骨子里较懦弱，在和费尔明娜的婚姻里婆媳关系不合，他不敢冲撞他的母亲。“只有上帝知道我有多爱你。”&lt;br /&gt;
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二.爱情&amp;amp;霍乱的隐喻关系&lt;br /&gt;
1.在追求费尔明娜的过程中，阿里萨生理和心理都经受了如霍乱症状一般的痛苦。在阿里萨对费尔明娜一见钟情后，“他开始寡言少语，茶饭不思，辗转反侧，彻夜难眠”。&lt;br /&gt;
等待费尔明娜回第一封信的时候“他腹泻，吐绿水，晕头转向，常常突然昏厥，脉搏微弱，呼吸沉重，像垂死之人一样冒着虚汗…”这些症状和霍乱的症状很相似。但事实上阿里萨并没有患上霍乱，后边医生的检查也可以证实。&lt;br /&gt;
所以，我们可以这样认为：爱情，在阿里萨身上的表现就如同霍乱对人的侵袭一样。在这本书中，霍乱也就代表爱情，所有的症状都是变相的爱。&lt;br /&gt;
但不同的是：疾病带来的恐惧是自私的，是从自我角度出发的，是害怕失去自己；而爱情带来的恐惧常常源自于所爱之人，是害怕失去对方。&lt;br /&gt;
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2.在中国古代文学里也有关于爱情对疾病的意象。&lt;br /&gt;
在中国，因爱情引起的疾病叫做“相思病”，一般是因对某人的思念而生病。表现为焦虑、食欲不振、失眠、幻想、晕厥等类似生病的身体状态。&lt;br /&gt;
很著名的例子就是《红楼梦》中的林黛玉人物形象。 还有《西厢记》张生为崔莺莺“为伊消得人憔悴”也是“相思病”的例子。这样的例证还有很多。&lt;br /&gt;
问题：如果爱情是一种病，能致病，那么医生能不能诊断并治愈因爱情引起的疾病呢？&lt;br /&gt;
大家都知道，林黛玉的身体一向比较弱，但是住在大观园中可以让黛玉有很好的物质条件治疗或者从中医角度来讲“调养”她的身体。看当时最好的医生, 吃的是最难得到的药材做成的药。可是在听到宝玉和宝钗成亲的消息后还是郁郁而终。说明在中国的古典文学中，医生并不可以治愈爱情引起的相思病。&lt;br /&gt;
我们再看西方文学里《变形记》——“所有人都知道, 真正的疾病和爱情疾病是很相似的: 意识变得虚弱, 眼神变得憔悴,膝盖变得无力… 上帝啊! 医生们真是无知啊! ”&lt;br /&gt;
还有《霍乱》里，母亲担心阿里萨得了霍乱,去看了医生。做了很多必要的医疗检查, 最后通过对阿里萨的性格了解以及与阿里萨的谈话确定了病因。医生最后能确诊阿里萨的爱情疾病并不是因为他高超的医术或者他的各种医学常识, 而是因为他本人的年纪来带的阅历以及对爱情和对阿里萨的了解得出的结论。&lt;br /&gt;
以及小说里医术高超的乌比尔诺医生, 虽然有广博深人的医学知识储量, 他研究霍乱是为了在医学层面上彻彻底底的治疗它。他一点也不懂爱, 不懂爱情。所以，乌比尔诺医生也不具有诊断爱情疾病的能力。&lt;br /&gt;
所以，中西方古典的文学作品中, 医生是并不赋有能力来诊断和治疗爱情所引起的疾病的。&lt;br /&gt;
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三.主人公的青年、中年、老年三个阶段他们的爱情。&lt;br /&gt;
a.青年阶段——浪漫疯狂，以阿里萨和费尔明娜的初恋为主。因费尔明娜的醒悟接着拒绝阿里萨而结束——“不，请别这样，忘了吧”、“今天见到您，我发现我们之间不过是一场幻觉”。这个时期，阿里萨是以等待、信还有音乐追求费尔明娜的，我认为这三项几乎是在所有的爱情中都会或多或少起到作用的。&lt;br /&gt;
等待。自从阿里萨对费尔明娜一见倾心之后，他就每天在费尔明娜上学必经的道路上，捧着一本诗集在一棵杏树下假装看书，只为了一天能匆匆忙忙地看上她四次，风雨无阻。&lt;br /&gt;
信。最初阿里萨缺乏勇气向费尔明娜说出自己的爱意，于是开始给费尔明娜写信，从一张便条最后变成了70页的情书。也是在频繁通信中，打动了费尔明娜。&lt;br /&gt;
音乐。在因费尔明娜失眠的夜晚，他在费尔明娜的窗外演奏自创的爱的华尔兹。费尔明娜也是在他的音乐中更深刻的了解他。&lt;br /&gt;
总的来说，青年时期：他们的相爱过程短，不成熟，更多的是幻想。&lt;br /&gt;
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b.中年阶段，主要是费尔明娜与乌尔比诺医生的婚姻以及阿里萨漫长的等待中的孤独狩猎生涯。&lt;br /&gt;
费&amp;amp;阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。&lt;br /&gt;
阿里萨在被拒绝：先是自虐，后转移对费尔明娜及她丈夫的怨恨与诅咒，随后又对费尔明娜宽恕，决定和费尔明娜留在同一个城市，并且开始新一轮漫长的等待，他的单相思——对抗时间和死亡，等乌比尔诺医生死去。&lt;br /&gt;
爱情的失败也让阿里萨意识到自己的身份和社会地位配不上费尔明娜，逼迫着自己去经营生活，改变自己的社会地位。&lt;br /&gt;
阿里萨猎艳：通过性寻找爱，消除内心孤独感&lt;br /&gt;
同时他和众多女人发生肉体关系。但其实正是通过和其他女人的相处，来消除内心的孤独感，弥补得不到费尔明娜爱情的缺失。他也更加确认费尔明娜对他的不可替代，是他一生唯一的挚爱。&lt;br /&gt;
费&amp;amp;乌：世俗婚姻。陪伴，稳定、平淡。&lt;br /&gt;
在费尔明娜与乌尔比诺医生的婚姻中，他们互相陪伴，平淡也稳定。只有一次例外，就是乌尔比诺出轨芭芭拉林奇小姐，被费尔明娜发现后，医生经过长时间的内心矛盾并最终坦白。&lt;br /&gt;
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c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。&lt;br /&gt;
阿里萨一直坚持到了医生去世。他以他的坚持和耐心打动了费尔明娜，让费尔明娜愿意接受他。他们开始了一段旅行，旅行结束的时候因为他们不愿面对现实所以不愿回去，最后乘着以霍乱为帆的船继续航行。&lt;br /&gt;
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四.小说里讲述的各种各样的爱情可能。&lt;br /&gt;
开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；&lt;br /&gt;
阿里萨和费尔明娜持续了半个世纪的柏拉图式的精神恋爱（包括他们青涩纯粹的初恋与年老时的黄昏恋）；&lt;br /&gt;
阿里萨对费尔明娜忠贞不渝的单相思；&lt;br /&gt;
费尔明娜与乌尔比诺医生的世俗婚姻爱情；&lt;br /&gt;
乌尔比诺与林奇小姐战战兢兢的婚外恋；&lt;br /&gt;
阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；&lt;br /&gt;
阿里萨与14岁少女的洛丽塔式的忘年恋…&lt;br /&gt;
忠贞的爱、雀跃的爱、逃离的爱、私通的爱、狂热的爱、转瞬即逝的爱、生死相依的爱…&lt;br /&gt;
不同层次不同角色不同性质的爱情，这篇小说也堪称是“爱情的教科书”“陈列爱情的博物馆”&lt;br /&gt;
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五.除了爱情之外的其他主题。&lt;br /&gt;
1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；&lt;br /&gt;
岁月加于人的痕迹——表现在岁月加于主人公身上的痕迹（蹒跚的步态、上楼梯的速度、意外的跌倒、满是皱纹的皮肤、稀疏的头发）；&lt;br /&gt;
乌尔比诺医生、阿里萨想尽办法延缓衰老 &lt;br /&gt;
2.死亡。小说中提到最多的是霍乱，也是整个故事发生的宏大背景。&lt;br /&gt;
借以描写这种难以治愈、神秘莫测的疾病来写死亡。因为霍乱预示着死亡，而且在当时几乎就等于死亡，当时地的生产力水平和医学发展不足以让人们去抗衡。&lt;br /&gt;
当人们被生理上的痛楚折磨时，往往无力也无心开出精神上的花朵。然而小说中描写的就是这样一种稀有的生命之花，因为爱情有勇气与苦难和死亡的疾病抗争。&lt;br /&gt;
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阿里萨一生都在追求费尔米纳的爱情，即使面临死亡的抉择也义无反顾: 冷酷无情的费尔米纳的父亲最初阻挠女儿与他的爱情时，甚至用死亡来威胁阿里萨，但是阿里萨毫无畏惧，“‘朝我开枪吧!’他说，把一只手放在胸口上，‘没有比为爱情而死更光荣的事情了’”。因为有了爱情，所以阿里萨充满了无畏的勇气。他为了爱情不怕死，并且崇尚为爱而死。&lt;br /&gt;
同时阿里萨的爱情之路实质上是一直与死亡作斗争，他到年老时害怕衰老和死亡，因为他明白，只有乌尔比诺医生死去，他才有机会再接近费尔米纳，因此，他努力与时间、衰老、死亡作斗争，他要为爱好好活着，战胜时间，战胜衰老，跨越死亡，他要活过乌尔比诺，才能重获费尔明娜。&lt;br /&gt;
所以说这两个主题实际上也是与爱情密切相关的，因爱情而起的，可以归结到爱情主题上。&lt;br /&gt;
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参考文献：&lt;br /&gt;
1.於珍珍.《霍乱时期的爱情》中的医生形象分析[J].才智,2014(32):318-319.&lt;br /&gt;
2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.&lt;br /&gt;
3.谈清妍.爱情的乌托邦——解读《霍乱时期的爱情》中的爱情与死亡[J].襄樊学院学报,2009,30(06):51-54.&lt;br /&gt;
4.高小斐,孙世友.悲欢离合五十年——浅论《霍乱时期的爱情》中的爱情[J].才智, 2014(16):288.&lt;br /&gt;
5.李贞琤.疾病缠绕下的爱情——马尔克斯小说爱情主题与疾病主题关系探究[J].开封教育学院学报,2017,37(12):38-39+42.&lt;br /&gt;
6.姚婧.情感的疾病化书写——解读《霍乱时期的爱情》[J].名作欣赏,2015(17):125-128.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 03:00, 4 June 2018 (UTC)&lt;br /&gt;
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handout of张传伟&lt;br /&gt;
世界主义与世界文学&lt;br /&gt;
一、世界主义&lt;br /&gt;
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1、世界文学的定义：&lt;br /&gt;
(1) 各民族优秀文学的经典之总汇；&lt;br /&gt;
(2) 一种用于从总体上研究、评价和批评文学的全球的、跨文化的和比较的视角；(3)不同语言中的文学生产、流通、翻译和批评性选择的发展演变过程。&lt;br /&gt;
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2、形成和发展&lt;br /&gt;
（1）词源探究&lt;br /&gt;
作为一个跨学科的理论概念和批评话语，世界主义可以追踪到古希腊的哲学思想那里，甚至这个术语本身就出自希腊语。我们今天在英文中所描述的世界主义( cosmopolitanism) 是由两个词组成的:cosmos在希腊语中，意为宇宙或世界，polis意为城市或城邦。这样我们就有了“世界”这个词。那些信仰其伦理道德的人便被人称为“世界主义者”( cosmopolites)，而他们的主张和理论教义便被称为“世界主义”。这就是世界主义概念就其字面意义而言的形成。&lt;br /&gt;
（2）后世发展&lt;br /&gt;
	世界主义通常在三个层面得到讨论:哲学的、政治学和社会学的以及文化和文学的层面。哲学维度的世界主义可以追溯到柏拉图和亚里士多德的著作，这两位希腊先哲本质上并不赞成世界主义，在他们看来，人们通常生活在自己的城邦，并且依恋特定的政治教义，所以很容易与之相认同。当他们的城邦遭受外敌入侵时，公民们便会奋起抗击，保卫自己的城邦。对这些古希腊人来说，好的公民不应当与外邦人分享过多的利益。这一观点后来逐步发展为爱国主义和民族主义。在中国，爱国主义和民族主义对那些试图形成独特的中华民族和文化认同的知识分子一直有着极大的吸引力，一个特例就是五四时期，当时虽曾有人鼓吹过世界主义，但很快就销声匿迹，淹没在民族主义的汪洋大海中了，其原因恰在于当时的中国文化土壤和时代精神并不适合世界主义驻足。&lt;br /&gt;
但并不是所有古希腊先哲们都反对世界主义，另一些思想较为开放且见多识广的古希腊知识分子，尤其是犬儒派哲人迪奥格尼斯(Diogenes)则鼓吹一种较为普世的伦理道德，因为他并不把自己局限于特定的城邦，甚至公开宣称:“我是一个世界公民。”从此，“世界公民”(citizen of the world)便成了所有信奉世界主义的人所致力于追求的理想。当然，他们所追求的并非是特定的民族—国家的利益，而更是一种普世价值和全人类的共同利益。他们的这种理想和追求并不满足于局限在哲学和社会政治层面，他们还试图将其推而广之。&lt;br /&gt;
当代学者在讨论世界主义时很少引证这些远古时期的观点，但其中的某些观点却依然在现代哲学家的著作中得到响应和发展。启蒙时期的哲学家如康德则表示了对其的莫大兴趣，提出一种世界主义的法律或权利。19 世纪以前的不同形式的世界主义仅仅停留在哲学家的假想和论辩层面上的话，那么自19 世纪以来，那些有远大抱负的人便逐渐开始将世界主义付诸实践了，从哥伦布发现“新大陆”到世界贸易航线形成等都为全球化的进程奠定了基础。&lt;br /&gt;
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二、世界文学&lt;br /&gt;
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1、源起&lt;br /&gt;
歌德是德语“世界文学”( Weltliteratur) 一词的创制者，也是第一个明确提出世界文学观念的人。歌德关于世界文学的论述集中在1827-1830年间，归纳起来有三个要点: 其一，世界文学是一个对话和流通的平台，各民族文学可以通过进入这个平台相互交流、取长补短、相得益彰。其二，世界文学是一个合乎世界主义的理想，能够推动各民族文学逐渐打破孤立割裂状态，影响融合而形成一个有机的统一体。其三，世界文学是彰显民族文学价值的场所。歌德就站在德国的角度谈论世界文学，他渴望本民族文学在推动世界文学形成过程中扮演“光荣的”、“美好的”角色，对其他民族文学(例如法国文学) 所处的优势地位则十分敏感。&lt;br /&gt;
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2、“世界文学”内涵&lt;br /&gt;
在《什么是世界文学？》一书中，丹穆若什以世界、文本和读者为中心，进一步阐释“世界文学”的三重定义：“世界文学是民族文学间的椭圆折射”“世界文学是从翻译中获益的文学”“世界文学不是指一套经典文本，而是指一种阅读模式——一种以超然的态度进入与我们自身时空不同的世界的形式”。首先，“椭圆折射”利用椭圆具备两个焦点的特性，指代世界文学的双重性质。世界文学具有两个核心要点——源文化和主体文化。一部文学作品如果想成为世界文学的一部分，需要从源文化出发，被他国文化空间接受。“接受”过程与接受主体的民族文化传统和价值需求相关。因此，世界文学既与源文化相关，又与主体文化相关，是一种双重折射。仔细分析，世界文学双重折射特性表明世界文学作品并非静止、孤立，而是在不同国家、不同文化间互相流通、交流、传播、碰撞。世界文学作品，不仅受到源文化熏陶，也经过主体文化的接受和改造。其次，由于语言障碍，世界文学作品的传播和流通必须依赖文学翻译。但是，文学语言在翻译过程中会有得失。丹穆若什认为翻译中对于得失的衡量是区分民族文学与世界文学的标志。具体来看，在翻译中受损的文学，“通常局限于本民族或本地区的传统内”；从翻译中获益的文学，“进入世界文学的范畴”。他进一步指出，民族文学进入世界文学，当范围扩大后，“风格上的损失会被深度上的扩张所抵消”。由此看出，世界文学作品源于民族文学而高于民族文学，价值取向超越民族特性，拥有“世界性”。最后，丹穆若什认为世界文学并非经典文本的简单集合，而是通过一种阅读，使读者超越自身时空，进入更加广阔的世界。作为阅读模式，一部作品能否成为世界文学，取决于其他国家、民族读者的阅读效果。一旦外国作品开始在读者脑中发生共鸣，世界文学就开始活动。这种“共鸣”，实际是不同民族文学作品的相同价值取向的融汇。作品自身价值取向被本国以外读者认可，超越民族性，成为世界性价值。由此看来，世界文学不代表文学作品数量的多少，而是作为一种阅读模式，“可以通过少量作品来深入体验，也可以通过大量作品来广泛探寻”，在世界范围内寻找共鸣。&lt;br /&gt;
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3、“世界文学”与“世界的文学”&lt;br /&gt;
一般而言，“世界文学”和“世界的文学”这两个概念多半是在明确的不同语境中被运用：若说“世界文学”依然意味着作品之无可非议的重要性，那么，“世界的文学”则更多地指向世界上那些不怎么有名、却能展示新方向的文学；它们不同凡响、颇有魅力，却还未在读者意识中占有重要位置。也就是说，“世界的文学”未必就是审美和经典意义的上乘之作，或得到广泛接受的作品。谈论“世界的文学”，人们面对的是浩繁的书卷，无数作品和文化传统，难以把握的界线，并在挑选时怀有开放态度。&lt;br /&gt;
	20 世纪70 年代，世界体系理论( World System Theory) 兴起于美国，对世界文学观念产生重大影响。以美国著名社会学家伊曼纽尔·沃勒斯坦( Immanuel Wallerstein) 为代表的世界体系理论的核心，是把人类社会看成一个由结构性经济联系及各种内在制度制约的一体化的体系，以此作为考察社会发展变迁的分析单位。这是对20 世纪五六十年代兴盛的以民族国家为分析单位、研究人类社会发展变迁的经典现代化理论的反拨。&lt;br /&gt;
&lt;br /&gt;
4、世界文学与比较文学&lt;br /&gt;
世界文学与比较文学的关系引起西方学者的重视。一种声音认为，世界文学相比于比较文学，只是在原有学科体系基础上扩大比较范围。如大卫·费里斯指出：“比较文学应成为世界文学，只是扩大比较范围，比较方法不变。”另一种声音认为，比较文学与世界文学并行不悖，相互作用。“国别文学、比较文学和世界文学彼此间保持动态相互作用关系，都无法完全取代对方。”②对于读者来讲，世界文学仅存于国家空间。比如中国读者阅读海明威《老人与海》，即使该作品在世界范围内得到广泛认可，作为世界文学作品享誉中外，但对于中国读者而言，阅读的只是一部美国小说而已。比较研究作为方法，通用于国别文学、比较文学和世界文学研究。但是，如库班指出，“世界文学接受文本，即使代表特别的国家精神……也能穿过甚至超越他们的国家，语言和历史起源，有效解域本身”，世界文学关注世界性，超越民族性。今天西方学者老话重提，有一些新的阐释，但是，作为克服比较文学危机、面向未来的比较文学学科理论，尚缺乏指导性意义。全世界比较文学学者必须寻求比较文学理论的新突破。&lt;br /&gt;
&lt;br /&gt;
三、中国文学的世界化与世界文学的中国化&lt;br /&gt;
&lt;br /&gt;
1、中国文学的世界化&lt;br /&gt;
中国文学世界化并不只是中国作家获得国际大奖或是中国作家作品被翻译介绍到外国。世界化是中国文学作为全球化时代世界文学的主体之一，在世界文学中体现出中国主体性。&lt;br /&gt;
马克思《路易·波拿巴的雾月十八日》中说：“就像一个刚学会一种新语言的人总是要把它翻译成本国语言一样；只有当他能够不必在心里把新语言翻译成本国语言，当他能够忘掉本国语言来运用新语言的时候，他才算领会了新语言的精神，才算是运用自如。”后现代批评家们奉为圭臬的这篇名著中，马克思的话说出了中国的世界文学认证的真正价值。全球化时代中，世界文学是对自我认证，也是对他人的认证，中国文学从世界文学得到认证，同样，世界文学从中国文学得到认证。&lt;br /&gt;
&lt;br /&gt;
2、世界文学的“中国化”&lt;br /&gt;
	世界文学的“中国化”指很多学者表示怀疑，以为是将世界文学作品按中国的观念进行改造，甚至变成“红色经典”。我们必须解释清楚：世界文学的中国化并不是用中国文学标准来“化”世界文学，而是建构中国的世界文学阐释理论体系。这是完全正当的无可非议的，中国文学从不追求“文化权力中心”。但是中国文学必须建立中国的世界文学视域，中国如何看待世界文学史理论、世界文学经典的选编与世界文学翻译，这三大要素，缺一不可。&lt;br /&gt;
&lt;br /&gt;
参考文献&lt;br /&gt;
[1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.&lt;br /&gt;
[2]曹顺庆,李斌.比较文学未来发展之路——世界文学与比较文学变异学[J].中国高校社会科学,2016(06):39-47+154.&lt;br /&gt;
[3]方汉文.中国文学的世界化与世界文学的中国化[J].江南大学学报(人文社会科学版),2016,15(01):93-98.&lt;br /&gt;
[4]王宁.世界文学语境中的中国当代文学[J].当代作家评论,2014(06):4-16+2.&lt;br /&gt;
[5]王宁.世界主义、世界文学以及中国文学的世界性[J].中国比较文学,2014(01):11-26.&lt;br /&gt;
[6]刘洪涛.世界文学观念的嬗变及其在中国的意义[J].中国比较文学,2012(04):9-21.&lt;br /&gt;
&lt;br /&gt;
西方文学的翻译&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
一、翻译内容、技法叙事&lt;br /&gt;
清末颇为兴盛的外国小说翻译一方面介绍了西方的文化思想,另一方面明显的汉民族文化特征仍不容忽视。因为近代译者多具有根深蒂固的中国文化观念,因此他们在翻译过程中对原著进行特殊的、比较主观的处理是特定历史阶段的产物。&lt;br /&gt;
在西方小说文化思想内容的翻译方面,“西方宗教观、伦理观与中国具体国情不同,其文学作品必然与中国文化发生抵悟,翻译者趋于沟通的心理,尽可能地使译作。与中国文化相通。”&lt;br /&gt;
在叙事技法的传递方面,“早期小说译者的文学修养主要源于中国传统文化,其译作的小说文体形式必然采用中国原有的通俗小说文体——章回体。在原著风格的翻译方面,“早期小说译者在翻译小说时非常注重小说的读者群,这些读者多属具有一定文化修养的文人阶层,其思维方式、审美习惯皆己定型。翻译者如果想拥有庞大的读者群,其译作就应该考虑到中国读者的阅读习惯与审美情趣,突出小说消闲、怡情的文学特征。因此,外国小说译作的汉化便成了翻译者有意追求的一种语言风格。&lt;br /&gt;
&lt;br /&gt;
二、翻译方法和翻译文体&lt;br /&gt;
由于文学意识的不自觉、白话语体表达的幼稚性以及受众对象的特殊性等原因,在近代的文学翻译中,归化的手法、文言的文体和意译的方法颇受青睐。因此,“这种译述、意译的风气使得早期文学翻译的体例很不完备。”文学革命爆发后,文学翻译的目标读者出现“平民化”倾向,文学翻译文体走向通俗化、大众化,同时由于文学翻译中文学意识的不断增强,直译方法逐渐为越来越多的译者所使用,文学翻译开始走向异化。&lt;br /&gt;
&lt;br /&gt;
三、近代翻译与意识形态的相互关系&lt;br /&gt;
译入语文化中的主流意识形态对中国近代翻译选材有着不容忽视的影响和操控作用。1840年—1919年的中国翻译史印证了勒菲弗尔的翻译理论。通过研究这个时期的翻译史,我们可以清楚看到,翻译作品的兴盛是随着各个历史阶段的主流意识形态的变化而变化的。例如“甲午战争的失败把中华民族的生死存亡摆在每个人的面前，……此时的意识形态可以归纳为‘开民智、求变革’,其目的是为了唤醒全体国民,进行思想和现代意识启蒙。小说因为其易普及&lt;br /&gt;
性被选作变革工具,成为资产阶级改良派医治`社会病'的良方。”&lt;br /&gt;
&lt;br /&gt;
四、近代翻译在文化和语言方面的属性&lt;br /&gt;
	中国近代翻译有层次区别,早期的科技翻译不同于后来的社科、文学翻译,前者主要是技术问题,后者主要是文化和语言问题。众所周知，文化翻译往往涉及到深层的语言体系问题。近代社会译者所深谙的古代汉语体系决定了近代翻译文学从根本上具有中国“古代性”。这样,“翻译者总是用旧思想、旧思维来理解和表达西方新思想、新思维,总是在旧有的语言体系中寻找相对应或相似的术语、概念、范畴和话语方式,因此,西方思想文化在翻译的过程就不知不觉地变了形,变得本土化、民族化了。&lt;br /&gt;
五、近代翻译的动机及其所带来的影响&lt;br /&gt;
近代译者为了让时人了解西方民主思想和先进的科技知识,大多有目的地选择政治小说、科学小说、侦探小说加以引进,其翻译动机就是要救国启民,因此他们的翻译观明显具有功利主义的性质。这一点对于我们理解近代的小说翻译理论和翻译策略大有裨益,对于译文中普遍存在的删改现象也就能够给予合理的解释。他明确地谈到“他们企图用中国传统文化和文学的规范去干预原文本,以此来调整读者对译文的反应,避免可能造成的文化障碍。运用这种策略和方法的目的,无非是趋利避害,把原文本中有利于译文读者的信息翻译出来,对那些不利于一译文读者或不实用的信息避而不译。”&lt;br /&gt;
参考文献&lt;br /&gt;
【1】吴莎,屠国元.论中国近代翻译选材与意识形态的关系(1840-1919)[J].外语与外语教学,2007(11):38-40.&lt;br /&gt;
【2】顾建新.清末民初文学翻译方法与文学翻译文体的发展[J].外语教学,2004(06):50-54.&lt;br /&gt;
【3】韩永芝.从文化排斥与文化认同看清末外国小说翻译[J].解放军外国语学院学报,2001(05):66-69.&lt;br /&gt;
【4】高玉.论中国近代翻译文学的“古代性”[J].华中师范大学学报(人文社会科学版),2000(04):66-72.&lt;br /&gt;
【5】陆国飞.近代外国小说译介中的功利主义思想[J].学术界,2007(04):236-239.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
外国诗歌翻译&lt;br /&gt;
[1]郭建辉.外国诗歌的审美特征与外国诗歌的鉴赏[J].重庆工业高等专科学校学报,2001(03):93-95.&lt;br /&gt;
由于各民族的文化传统的不同影响，外国诗歌也呈现出不同的特点，详细分析了从《荷马史诗》与《圣经》到现代主义艾略特的《荒原》特点，以把握外国诗歌的审美特征。&lt;br /&gt;
&lt;br /&gt;
[2]河洛易.中国现代诗歌翻译概述[J].解放军外国语学院学报,2000(05):105-108.&lt;br /&gt;
作为中国20世纪的诗歌翻译来说, 大致可分为七个阶段：1、诗歌翻译的前奏曲——近代诗歌翻译 (1840 年鸦片战争到 1919年“五四”运动)；2、现代诗歌翻译的开创期 (从1919 年新青年社到 1930年“左联”成立)；3、现代诗歌翻译的中期 (从 1930 年“左联”成立到 1937 年抗战开始)；4、现代诗歌翻译的后期 (从 1937年抗战开始到1949年中华人民共和国成立)；5、当代“十七年”的诗歌翻译 (从 1949 年新中国成立到“文化大革命”前夕)；6、当代“文革十年”的诗歌翻译 (文革十年)；7、当代新时期的诗歌翻译 (1976 年至今)。&lt;br /&gt;
外国诗歌的翻译不是一个自我封闭的静态系统，而是一个不断自我调整和适应的开放系统。&lt;br /&gt;
&lt;br /&gt;
[3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.&lt;br /&gt;
翻译诗歌为百年新诗发展注入了生机和活力，学界目前多从创作技巧、形式艺术或思想情感的角度去论述前者对后者的影响，较少从创作实践的层面去思考二者的关联。实际上，新诗创作者由于接受了不同的文化而具有各自特殊的写作背景，翻译诗歌对新诗创作的影响也因为创作主体的多元化而呈现出复杂的格局：部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上；也有部分诗人通过阅读其他人翻译的作品而受到了译诗文本的影响，这部分人也包括那些参与翻译的诗人，因为他们自己在翻译诗歌的同时也可能会阅读别人的译作。&lt;br /&gt;
&lt;br /&gt;
[4]熊辉.外国诗歌的翻译与中国现代新诗的文体创新[J].上海师范大学学报(哲学社会科学版),2013,42(03):70-76.&lt;br /&gt;
外国诗歌的翻译有助于中国新诗的文体创新,作者从语言层面的创造新字、改进语言句法和表达方式,形式层面的创造新形式、引入新形式等方面展开论述。在此基础上分析了这种在翻译的过程中创新的文体所具有的文体特征和文化属性,进而表明外国诗歌的翻译对中国新诗文体创新具有带动作用。&lt;br /&gt;
&lt;br /&gt;
[5]李特夫,李国林.诗歌翻译研究:传统思路与现代视野[J].天津外国语学院学报,2004(01):31-36+47. &lt;br /&gt;
随着译学研究范式的转向、开拓与创新 ,各种译学思想得以不断重诂和修订，为我国诗歌翻译研究带来了新的启示。在对传统译诗观念进行简要回顾和思考的基础上，针对当前一些争议和疑难性问题提出了个人看法，并借鉴西方译论，就未来诗歌翻译研究有关问题进行了探讨。&lt;br /&gt;
&lt;br /&gt;
[[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]&lt;br /&gt;
&lt;br /&gt;
[[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]&lt;br /&gt;
&lt;br /&gt;
[[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Types_10&amp;diff=131672</id>
		<title>Trans Types 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Types_10&amp;diff=131672"/>
		<updated>2021-12-13T11:20:49Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
=Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
Yang Liuqing 杨柳青, Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
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Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
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Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
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Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
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===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
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===References===&lt;br /&gt;
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Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
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Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
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Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
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Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131664</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-13T11:16:43Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
=====Conversion of part of speech=====&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
=====Public signs=====&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
=====Change of subjects and passive voice=====&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
=====Punctuation=====&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
&lt;br /&gt;
[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
&lt;br /&gt;
[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Keywords==&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Emergence and Development of Communicative Translation===&lt;br /&gt;
&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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====Demolition Syntax====&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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====Imitation====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
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The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
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In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
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(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
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我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
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Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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&lt;br /&gt;
Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
&lt;br /&gt;
However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
[[Trans_Types_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Types_10&amp;diff=131651</id>
		<title>Trans Types 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Types_10&amp;diff=131651"/>
		<updated>2021-12-13T11:09:47Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: Created page with &amp;quot; ===Abstract=== Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulne...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems through his translation theories and show some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry; Bian Zhilin&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之琳是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将从卞之琳的文学翻译理论出发，对其浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌；卞之琳&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns''(1933) which is his first volume of poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection''(1935), ''The Han Garden Collection''(1936) and ''Poems of a Decade''(1942) and so on. All in all, Bian Zhilin contributed a lot to the translation in China and left a huge fantastic works for people today.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
&lt;br /&gt;
Romanticism is a reaction against the enlightenment and rationalism in the 18th century, and it is a rejection of the precepts of order, calmness, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English romanticism was generally defined to begin in 1798 with the publication of Lyrical Ballads which was created by William Wordsworth and Samuel Taylor Coleridge and ended in 1832 with Walter Scott's death. Romanticists placed the individual at the center of art and made literature most valuable as an expression of his or her unique feelings and particular attitudes and it also showed individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a time of great poetry. During this period, many poets created plenty of wonderful poems which vividly showed the beauty of nature and humanistic thoughts. English romantic poets included the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves our attention. He is a pre-romanticist and forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which was based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in the history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. According to Yan Fu, &amp;quot;faithfulness&amp;quot; means that a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator to use classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators such as Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works come from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes that there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language and it is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot;. It means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to the original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; are like people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means that expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made a distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version should also be free verse. If the original poem is metrical poem, then translation should also be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meters. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translations of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake was a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus making the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And ''Song to the Men of England'' was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in a metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
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Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
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Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 5&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 6&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
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====Addition====&lt;br /&gt;
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Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
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Example 7&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
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Example 8&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
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====Free translation====&lt;br /&gt;
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Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
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American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
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Example 10:&lt;br /&gt;
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Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
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American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
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　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
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====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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=====Conversion of part of speech=====&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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=====Public signs=====&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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=====Change of subjects and passive voice=====&lt;br /&gt;
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Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
=====Punctuation=====&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
&lt;br /&gt;
[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
&lt;br /&gt;
[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Keywords==&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Emergence and Development of Communicative Translation===&lt;br /&gt;
&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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====Demolition Syntax====&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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====Cotranslation====&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
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First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
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Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
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Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Addition====&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
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First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
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Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
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&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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====Repetition====&lt;br /&gt;
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Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
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Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
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First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
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Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
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At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
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At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
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The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
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===Limitations and Suggestions===&lt;br /&gt;
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There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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Song Jie. A Study of Styles of English Translation of Chinese Essays during Period of the Republic of China from Perspective of Translation and Aesthetics [D]. Shanghai: Shanghai International Studies University, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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Zhang Baohong. Literary Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M].  南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
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==Appendix==&lt;br /&gt;
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(The original text:)&lt;br /&gt;
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The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
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It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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[[Trans_Types_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131585</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131585"/>
		<updated>2021-12-13T10:34:29Z</updated>

		<summary type="html">&lt;p&gt;Yang Liuqing: /* 杨柳青 Bian Zhilin's Literary Translation Theories and Practice ——Take His Translation of Romantic Poems as examples */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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=====Conversion of part of speech=====&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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=====Public signs=====&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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=====Change of subjects and passive voice=====&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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=====Punctuation=====&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
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[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
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[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
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[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
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[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
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[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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====Demolition Syntax====&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
&lt;br /&gt;
[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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Song Jie. A Study of Styles of English Translation of Chinese Essays during Period of the Republic of China from Perspective of Translation and Aesthetics [D]. Shanghai: Shanghai International Studies University, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Yang Liuqing</name></author>
	</entry>
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